Durga Puja is an annual festival that celebrates the Great Goddess, better known as Durga. Although the true origin of the worship of Durga is still unknown, today’s form of the Durga Puja festival can be dated back to the 16th century, during the Mughal era (Banerjee 31). During this time, the mythical figure of Rama and his worship of Durga in the Ramayana were brought to the center of attention. The Ramayana says that Rama wanted to destroy the evil demon, Ravana, but needed aid because he was not strong enough to kill the demon on his own. By worshipping Durga, she provided him with the strength he needed to win against Ravana (Ghosha 14). This epic brought a large amount of influence to Raja Udaynarayan and he held the first Durga Puja to show his strength against the Mughals. Although many historians believe that he was not successful against the Mughals, the festival began to spread and quickly became one of the most important festivals (Banerjee 31-32). Many believe that the reason this epic had such a great influence was due to the resistance many kingdoms, on the Indian sub-continent, had against Mughal rule (Rodrigues 19). This epic also changed the time when the festival was to be held. It is said that Rama worshipped the Great Goddess during the autumn instead of the spring months, done by King Suratha (Banerjee 2). Therefore Raja Udaynarayan held the festival in autumn in the16th century causing the festival to be held in the autumn month of Asvina, during the nine-day Navaratri festival, today.
Puja, a form of devotional worship, is normally only performed for one or two days; the Durga Puja spans over a four-five day period (Banerjee 18). During this period, many complex rituals are held in the worship of Durga. The Great Goddess is not a particular goddess but is a single supreme form of divine femininity. This causes the Great Goddess to have many names; for example the most popular names used are Devi, Ma, or Sakti (Rodrigues 17). Therefore, all goddesses are worshipped during this time and every temple that houses a goddess is lively and closely attended too. Expensive home pujas are also put within each home for personal worship. Clay images (murti) and temporary shrines (pandals) are even more closely attended to and observed at this time because they are the focal points for worship (Rodrigues 10). Many pujas, forms of worship, are needed each day during this festival for ritual worship. Each day has a different assortment or food, cloth and puja items, such as flowers, iron, shells, or bark. These items are needed each day to invoke the Great Goddess her for aid among the people and the community.
This time is also known as an important to restore old items and relationships; it is an important time built on caring for others, sharing when one is in need, and keeping a strong bond with family members (Banerjee 61). Many married daughters are able to come home to their parents and spend time with their families; most women live with their husband’s family, once they are married, due to Hindu tradition (Rodrigues 28). Much time is spent worshipping the Great Goddess hoping to invoke her upon the things that not only a single person needs but also the things others and the community is in need of. One of the most important figures during these rituals is the purohita, the central role to the entirety of the pujas (Rodrigues 29). The purohita prepares and purifies water (jala suddhi), flowers (puspa suddhi), his seat (asana suddhi), and the elements (bhuta suddhi) as his preliminary duties in preparing for the rituals to come (Rodrigues 38). The purohita uses this purification ritual to create a link with the divine nature and enables the Great Goddess to manifest in the purohita; he then transfers her into different abodes(Rodrigues 277). This creates a strong bond between the Great Goddess and the people observing and worshipping her.
Another sacred ritual is that of an animal sacrifice in order to keep cosmic stability. This ritual is used as a re-enactment of the battle between Durga and Mahisa in which the cosmos was regulated by Durga once she slayed the beast (Kinsley 112). In today’s Durga Puja, blood sacrifice is disappearing and many communities are substituting fruits, such as melons, for animals. Even though melons are used, Hindus go to great lengths to change the melons, such as put vermilion paste and effigy on them, to ensure it represents a blood sacrifice. Blood sacrifice is also representative of the most important food offering to the Great Goddess. Even though true blood is not always spilt, it is meant to symbolically represent the beheading of Mahisa (Rodrigues 278).
As Durga Puja spans over four to five days during the Navaratri festival, it adds two very different central roles to the Great Goddess and why she is being worshipped at this time. This most popular depiction of Durga is that of a strong warrior, wielding many weapons and is victorious over evil. One of the most popular legends that this depiction arises from is of Durga battling the powerful buffalo-headed demon, Mahisa, to regulate the cosmos, which she comes out victorious by killing him. This depiction causes many people to associate the worship of Durga with military success and victory of good over evil. Military success is also attributed to the month of Asvina itself because it occurs at the end of the rainy season, in which the season of warfare begins. During this season of warfare, the worship of weapons, ayudha-puja, and the worship as Aparajita are conducted. The ayudha-puja takes place in the temples of Devi and is done by soldiers and military rulers, as it marks the beginning of military campaigns. Durga is alsoworshipped as Aparajita, she who is invincible, to invoke the power of Durga that cannot be conquered or controlled to ensure military success among the people (Rodrigues 290). Durga in all forms in representative of formidable power and how it is to be wielded; to battle adversity and conquer what is in the way of ones path to succession (Rodrigues 289).
Durga is symbolically represented in many different forms; the most important of these forms are the jar (ghata), the cluster of nine plants (navapatrika), the clay image, and the virgin girl (kumari). The jar (ghata) is the most recognizable of these forms and Devi’s embodiment in the jar resembles a pregnant woman. The jar is composed of two natural elements, the earth and the divine waters; these elements have been associated with the Great Goddess for a long period of time. This natural element within the jar and the representation of the pregnant woman symbolize Durga as the form of the mother of creation and she is giving birth to the cosmos. Other elements, such as flowers, earth, fruit, water, and fragrant paste, are placed around or on this form of Durga to be served as the beauty of nature that comes from creation (Rodrigues 262). Next, the cluster of nine plants (navapatrika) and a wood-apple tree branch, to serve as the breasts of the Great Goddess, are placed with the jar for worship within the house. Where as the wood-apple branch symbolizes Durga herself, the cluster of plants represents the different aspect of the Great Goddess and the feminine identity. These aspects incorporate different goddesses and their symbols as aspects of the Great Goddess such as the Nim tree and the Tulasi plant that serve as an embodiment of goddesses (Rodrigues 264).
The most striking and influential of these forms is the clay image. The clay image is the Great Goddess as a young and beautiful goddess. She has a strong and beautiful body that showcases the femininity of her character but she also wields the weapons of the male gods with her ten arms to exemplify her unconquerable power. In the clay image is also the human form of Mahisa as Durga impales him with her spear (Rodrigues 265). A large amount of blood is also portrayed in this image and shows the importance the blood sacrifice and to re-enact the spilling of the evil blood. Ganesa and Kartikeya are also presented within the clay image as aspects of the Great Goddess. Ganesa is worshipped as the Lord of Obstacles and Kartikeya is worshipped as the divine warrior. These aspects put together are representative of Durga as a strong warrior that is a great obstacle that stands in the way of her opponents (Rodrigues 266). This clay image in very complex and represents the whole of the different aspects of Durga. The last form of Durga is served as a virgin girl. Any pure, young girl can serve as this form of Durga and is used as a vehicle for the manifestation of Durga in human form. The use of a virgin girl is also linked to the blood sacrifice and gathering of women. During this time, women of all ages, including married daughters, come together to celebrate this festival. This showcases all the stages of a woman, from a virgin girl, to a young married woman, to an older mother or grandmother. The blood sacrifice is also representative of the stages in a woman’s life as well. Whereas a young virgin girl represents youth, the blood sacrifice also represents the fertility to come into the girl’s life, as she grows older. This is represented by Durga during the virgin girl embodiment as well as she is a young beautiful girl that causes the flow of blood (Rodrigues 297).
These rituals create a bond with Durga, the divine, and the people. As Durga embodies these different forms it creates a high level of devotional worship among the devotees. The embodiment of a virgin girl creates a strong link between the Great Goddess and the people because they recognize Durga as a daughter and someone they have a strong relationship with (Banerjee 87). This festival also brings families together once again to celebrate fertility, power, and success together. The Durga Puja is one of the few festivals that adjust to the changing times and but also keeps and passes down the sacred rituals to ensure the festival remains.
REFERENCES AND FURTHER RECOMMENDED READING
Banerjee, Sudeshna (2004) Durga Puja: Yesterday, Today and Tomorrow. Rupa and Co, Calcutta.
Ghosha, Pratapachandra (1871) Durga Puja: With Notes and Illustrations. Calcutta: Hindoo Patriot Pres.
Kinsley, David (1987) Hindu Goddesses. Delhi: Motilal Banarsidass.
Rodrigues, Hilary Peter (2003) Ritual Worship of the Great Goddess: The Liturgy of the Durga Puja with Interpretations. Albany: State University of New York Press.
Many ancient cultures have traditions believing in the power of a mother goddess. Hinduism is one such religion that still has a strong culture of goddess worship that has continued to develop over the years. There are many indications of the importance of fertility and the importance of worshiping feminine power in the remains of the Indus Valley Civilization, which was discovered in the 1920’s. Female figurines as well as seals were found depicting the female figure (Coburn 15).
The Devi Mahatmya is one of the first texts in the Hindu tradition to equate female divinity with the principle of Brahman, which is ultimate reality (Abbot and Foulston 12). It is part of a larger text called the Markandeya-Purana. However, out of all of the texts in the Markandeya-Purana, the Devi Mahatmya has the most commentaries and is mostly viewed on its own as opposed to with the full text. The term Devi Mahatmya translates to “Greatness of the Goddess”. The text is all about the myths of Hindu goddesses and was originally in Sanskrit (Coburn 1). It was likely written in the sixth century and is still used today to worship the goddess (Kinsley 489). The text mostly narrates tales of battles between the goddess (Devi) and various demons, but takes place within a larger story. Throughout the Devi Mahatmya the goddess is referred to by over 200 different names. Several of these names describe characteristics of the goddess, while others convey honour. Many of them refer to goddesses that have been mentioned in other Hindu literature. (Kinsley 490).
The Devi Mahatmya is usually presented in three sections. Each section is about a specific goddess and has its own seer and deity. These three sections contain different chapters and are unequal in length. The first section is chapter 1, the second consists of chapters 2-4, and the third spans chapters 5-14. These three sections that make up the Devi Mahatmya are often surrounded by appendages or angas. These are subsidiary texts that the Devi Mahatmya relies on and they come before and after the main text. These angas discuss ritual use of the Devi Mahatmya (Coburn 100).
The Devi Mahatmya tells of three battles between the goddess, Devi, and different demons. These three battles make up the three sections of the text. The frame story, which connects these episodes, is that there is a sage that is teaching his two pupils about the identity of the goddess. The sage tells his pupils about the three battles. The first section and battle of the Devi Mahatmya tells how the demons Madhu and Kaitabha were defeated. The second section is about the goddess’ defeat of the demon Mahisa. The third section is the myth of Sumbha and Nisumbha (Coburn 22-24).
In the first section, the goddess is associated with the deity Visnu. The goddess takes on the characteristics of the great male god. When associated with Visnu the goddess is characterized by negative qualities such as sleep and delusion (Kinsley 491). These characteristics are referred to as maya and the goddess is referred to as Mahamaya ten times in this episode. Although maya has negative overtones it also has positive ones such as the ability to create (Kinsley 498-499). The two demons in this section, Madhu and Kaitabha, are said to have come out of Visnu’s ear to harass Brahma, the creator god. In this story, the goddess is able to awaken Visnu so that he can defeat the two demons. He fought them for five thousand years and then he was finally able to defeat them. He granted their last wish and killed them on land by cutting off their heads (Coburn 39).
The second section of the Devi Mahatmya has the goddess born from the strength and power of many different gods (Kinsley 492). This section is unique because it describes the birth of a completely new god. In this episode, the demon Mahisa conquers the gods and expels them from heaven to wander the earth. Hearing about this, Visnu and Siva became angry and out of a fiery splendor, known as tejas, the goddess was created. The goddess was created from different aspects of each god and given different weapons from all of them (Coburn 40). Together, this new goddess and the other gods had been expelled fought in a battle against Mahisa’s army. They fought until Mahisa’s army begged them to stop and Mahisa was slain. At the end of the battle flowers were released from heaven (Coburn 44). The goddess in this episode is praised by the gods and continued to protect the worlds.
The third section is the longest section of the Devi Mahatmya and consists of the most chapters. This episode begins with the gods going to the Himalayas (Kinsley 491). The demons Sumbha and Nisumbha hear of this great goddess and send two of their generals, Canda and Munda, to abduct her and bring her to him in order to get married. The generals believe that they will be able to take the goddess with ease and little effort. They approach her confidently and with pride forgetting that she is all-powerful. As they approach, the goddess first lets out a mantra that has the power to create and destroy, and then goes on to destroy the two generals. The king demon, named Sumbha, who had given the orders for the goddess to be abducted is angered when he hears that his two best generals have been destroyed by a woman (Amazzone 63). When he attacks, the goddess goes on to destroy both Sumbha and his brother Nisumbha; The Devi Mahatmya makes it very clear that the goddess is universal and all-powerful (Abbot and Foulston 66).
The Devi Mahatmya is still used in the Hindu tradition today. It is one of the most influential texts in the tradition and is used to worship the goddess at different Hindu rituals and gatherings. One of the gathering in which the Devi Mahatmya is used is the Durga Puja. The Durga Puja is the most popular festival, it is celebrated once a year in Kolkata and devotees get to “gaze upon the Goddess’s face.” (Abbot and Foulston 157). It is one of the largest pilgrimage experiences within Southeast Asia, millions or people take part in this pilgrimage in order to worship the goddess. The festival takes place over nine nights and part of the festival is the recitation of the Devi Mahatmya and her victories over the demons (Amazzone 48).
Although the Devi Mahatmya is an ancient text in the Hindu tradition it still stands out among all of the other texts. It is one of the most influential texts and is unique because it tells tales of the great goddess. It has been used all throughout the Hindu tradition and is still used today at festivals and to worship the goddess.
References and Further Recommended Reading
Abbot, Stuart and Foulston, Lynn (2012) Hindu Goddesses: Beliefs and Practices. Eastbourne: Sussex Academic Press.
Amazzone, Laura (2010) Goddess Durga and the Sacred Female Power. Maryland: Hamilton Books.
Coburn, Thomas B. (1991) Encountering the Goddess: A Translation of the Devī-Māhātmya and A Study of its Interpretation. New York: State University of New York Press.
Coburn, Thomas B. (1988) Devi Mahatmya: The Crystallization of the Goddess Tradition. Delhi: Motilal Banarsidass.
Hawley, John Stratton and Donna Marie Wulff, (1996) Devi: Goddesses of India. Berkeley:University of California Press.
Kinsley, David (1978) “The Portrait of the Goddess in the Devī-Māhātmya.” Journal of the American Academy of Religion Vol. 46 No. 4: 489-506. Accessed January 30, 2016. http://www.jstor.org/stable/1463045
Kinsley, David (1975) “Freedom from Death in the Worship of Kali.” Numen 22(3): 183-207. Accessed February 3, 2016. Doi: 10.2307/3269544
The Navadurga Tradition of Bhaktapur, Nepal: An Ethnographic Account
The following paper is an ethnographic report that describes the Navadurga tradition of Bhaktapur, Nepal. All data collected was generated through qualitative research means relying mainly on the use of observations and interviews with the tradition’s practitioners and followers. I collected all the data used for the composition of this paper over the summer of 2014 in the months of June, July, and August. This paper will first provide a brief introduction to the geographical area of the study and the tradition itself. The paper will then proceed with a section discussing the collection of the information followed by a historical account of the tradition and finally the tradition as it is practiced today by discussing the tradition’s membership, activities, operations, and relations.
Nepal is a land locked county in South Asia bordered by India and China (specifically the region of Tibet). Nepal is a country rich in culture, language, landscape, history, and religion. Not only is Nepal home to the Himalayas and Mount Everest, but it is also the birthplace of the Buddha, and one of the only countries in South Asia (including Southeast Asia) to remain autonomous and free from colonial rule. Like India, Nepal’s most practiced religion is Hinduism, a complex religion that encompasses thousands of deities, thousands of ritual practices, and even competing and sometimes contradictory beliefs. The Navadurga tradition of Bhaktapur, Nepal is an excellent example of a Hindu tradition that is contradictory in some of its practices from that of mainstream Hinduism.
The Kathmandu Valley of Nepal is made up of three major cities, Kathmandu (the nation’s capital), Patan, and Bhaktapur. Kathmandu and Patan have both experienced rapid modernization and development that has caused the cities to loose some of their traditional customs, culture, architecture, and beliefs. Lying on the outskirts of the valley, Bhaktapur has managed to preserve and retain more of its traditional customs, culture, architecture, and beliefs than the other cities have. Bhaktapur’s population is mainly comprised of Newars, an ethnic group that accounts for less than ten percent of the country’s population, and is indigenous to the Kathmandu Valley and the areas surrounding it. A tradition important to the Newar community of the greater Kathmandu Valley, and specifically the citizens of Bhaktapur, is the Navadurga tradition.
The Navadurga is translated as the nine Durgas, referring to nine different forms of the great goddess Durga. To most of the Indian subcontinent Durga is the divine mother, presider over the seasons of life, death, and birth, the liberator of the oppressed and marginalized, and warrior. She is often depicted with eight to eighteen arms, each of which yields a different weapon. Most Hindu deities wield specific items that allow for them to be easily identified. Durga, however, holds the weapons of other deities, including Śiva’s trident and Visnu’s discus, reinforcing her characteristics as a warrior and liberator. Durga’s power is representative of the feminine principle of the cosmos known as Shakti. The goddess Durga is said to have as many forms as there are beings on the planet. Her many forms come in a variety of dispositions and include many female deities from the Hindu pantheon. Such goddesses include Laksmi the goddess of prosperity; Saraswatī the goddess of creativity; Lalita the goddess of light; Vajrayoginī the goddess of power; and Kālī the goddess of transformation and death. Durga is not mentioned in the Vedic scriptures, Hinduism’s earliest literature. The Vedas speak of the goddesses Vac and Ratri, but neither of these goddesses is associated with battle or blood sacrifices, both of which are important aspects of Durga today. Although the Vedas do not portray the wrathful manifestations of Durga some aspects of the Great Goddess are portrayed. The goddess Vac is believed to be an early representation of the goddess Saraswatī, who as previously mentioned is one representation of the Great Goddess. Durga is specifically mentioned in the Puranic literature, which emerged after the Vedas. The Puranas attempted to assume status as the fifth Veda, however it was unsuccessful and is now considered secondary Hindu literature. The Devī Mahatmya arises out of the Markandeya Purana and provides a narrative of Durga’s victory of the buffalo demon Mahishasura. The Devī Mahatmya is the most integral piece of literature on the goddess Durga. Although Durga was not mentioned in the Vedas she has become an important Hindu figure across the Indian subcontinent.
The most widely celebrated festival in Banaras, Indias is for the goddess Durga is Navarātra (Nine Nights) this festival is celebrated over nine nights, each night marked by a journey to one of the nine different Durga temples. More than fifty thousand Hindus participate in the festival each year. The traditions of Bhaktapur differ significantly than the traditions in Banāras. A major distinction is that the festival for the Navadurga lasts for several months rather than nine nights. Another distinction is the use of iconography; in Banāras full images are created and displayed for worship, whereas the tradition in Bhaktapur uses masks that are worshipped when they are stationary and on display, in addition to when they are worn and move around. The use of masks in Durga traditions is a unique practice to Bhaktapur. Mask use, however, is not a unique practice. The Balinese employ the use of masks in various traditions and rituals, specifically when portraying the Ramāyana, a great Hindu epic. The masks used by the Balinese are sacred heirlooms that are treated as gods; when they are not in use they are placed inside the temple next to the main images of the deities to be worshiped and given daily offerings. There are several parallels between the mask use in Bali and Bhaktapur, mainly the reverence and homage paid to them and their ceremonial use. Differences between the use of masks is that the Balinese masks are heirlooms passed down to the next generation whereas the tradition in Bhaktapur begins each year by constructing new masks and ends by cremating them. Bhaktapur’s use of masks is a unique practice within Hinduism and is deeply established within Bhaktapur’s community.
Having introduced the region, topic of this study, and provided a brief contextual account of similar traditions this paper will now begin to present a full account of the Navadurga tradition of Bhaktapur. It begins by explaining the methods used in the research to generate the information for this paper. This is followed by a historical account of the tradition’s origins, and then outlines the tradition as it is practiced today. Specific aspects of the tradition to be discussed include its membership, operations, activities, and relations.
The information gathered for this paper was mainly collected directly from Bhaktapur, Nepal over a three-month period (June, July, and August) in the summer of 2014. Visits were made to Bhaktapur on a weekly, or biweekly basis to conduct interviews or observe various aspects of the religion such as rituals or ceremonies, preparation for such activities, or the daily actions of the members of the Navadurga community. The following section will discuss and reflect on the methods utilized to gather the information in addition to my personal experiences in conducting the research.
Prior to arriving in Nepal preliminary research was conducted to familiarize myself with Durga, the Navadurga, the use of masks in Hinduism, and Bhaktapur. This was beneficial in building an initial base of knowledge that became useful when talking with members of the Navadurga community, observing the various activities, and conducting interviews. The research in the field would have benefitted had I done more preliminary research on a wider range of topics. This will be discussed at more length in the end of this section. Once in Nepal research was done directly with the locals through interviews and observations.
Interviews serve as the main source of information for this study. A total of twenty-two (22) individuals were interviewed. Of the twenty-two individuals interviewed seventeen belong to the Navadurga community and the remaining five are citizens of Bhaktapur. The five informants outside of the Navadurga community consisted of a one local historian, two tourist guides, and two individuals who pay homage to the Navadurga at their various festivals and ceremonies. The seventeen interviewed from within the Navadurga community consist of performers (both dancers and musicians), priests, community leaders known as Nayas, and various other individuals who participate in the tradition through some other capacity. All but two of the individuals have asked to remain anonymous. Of the twenty-two individuals interviewed only eight individuals will be frequently cited. That is because these eight individuals were able to give additional insight into the topic that the other individuals were either not able to share due to a lack of knowledge or because they were not comfortable sharing. Included in the eight individuals who will be frequently cited are the two individuals who did not ask to remain anonymous, leaving six individuals who will be provided with pseudonyms. Table 1 presents information regarding the individuals’ experiences and base of knowledge of those who have been assigned pseudonyms. Information that was widely agreed upon will not be cited in this paper.
Naya in training, learning from his father and the other Nayas
A senior Naya
A young Naya
Performed as Duma when a child, comes from a family line of temple priests
Priest and performer
* note: Roshan was also a translator
Interviews were conducted with the use of a translator and were recorded using an audio recorder. The interviews were initially based of a basic questionnaire and then evolved along with the conversations as they progressed. Interviews were conducted with either one individual or in groups of two or three. Due to the nature of the topic being studied individuals were hesitant to answer some of the questions or felt as though they were not educated enough to answer properly. Those interviewed were very concerned that they might misrepresent something or share the wrong information, making conducting the interviews very difficult. In fact, a month into my research I found that the information I was collecting from the individuals not to be consistent. After some time I had realized that when I asked certain questions that pertained to information that the Navadurga community regards as sacred and secret they would fabricate their answers. This was a reoccurring theme in many of the interviews, so much so that I decided to start my research again having modified how I approach certain questions and the interviews in general. For this reason you will notice that there are rarely any citations from interviews held in June, except for the interviews held with the two individuals familiar with the interview process; these individuals are Dr. Purushottam Lochan Shrestha (a historian) and Kedar Raj Upadhyay.
One adjustment made to the way interviews were conducted was a change in the translator I used. Originally I had hired a translator recommended to me from a colleague that was not familiar with Navadurga. I believe this had a detrimental effect on the work I was doing, as the translator knew less about the tradition than I had. Following the restart of the interviewing process I was introduced to a young individual named Roshan [pseud.], a son of one the Navadurga temple’s priests. Roshan had recently graduated from with bachelors of tourism, was proficient in English and was very knowledgeable on the Navadurga tradition. He was also eager to secure experience working with tourists (although I consistently claimed not to be a tourist). Hiring Roshan had a very positive impact on my research by opening new doors and creating a more comfortable and familiar environment for the interviewing process; all of the members of the Navadurga community either knew him or were related to him. Not only was Roshan excellent as a translator, but he also proved to be a very valuable informant himself. The more time I spent with Roshan the more inclusive the community became of me and the more I was able to learn.
Observing the community in action and witnessing specific events provided an excellent source for gaining new information as well as to confirm information received from informants. During my time there this summer I was able to observe the rituals and ceremonies of Sirja, Gathemangal, and Ganesh Chaturthi. I was also able to witness the preparations being made for Dashain and the daily puja performed at the temple, except for the puja done in the sacred room that I was not permitted to enter. I was also able to capture images from all of the events I attended, some of which will be shared in Appendix A.
Reflecting back on my experiences collecting information and researching in Bhaktapur I can think of modifications that would have benefitted the information collection process. First and foremost this research would have benefitted from more additional preliminary research. Having only taken one university course on Hinduism the knowledge I poses is basic at best. Had I been more familiar with topics such as Tantra, gender roles, puja, and Hinduism in general I would have been better able to pick up on certain aspects that I had otherwise missed. The most beneficial alteration made to my approach was using someone like Roshan, someone knowledgeable about the Navadurga, as my translator. While I was conducting research in Nepal I was also working an internship with a local environmental non-governmental organization. It was because of this position I was only able to visit Bhaktapur on a weekly or biweekly basis. Spending time with Roshan made connections grow faster and provided new opportunities that helped make the most out of the time I was able to spend in Bhaktapur. If I were to repeat a similar situation in the future I would hope to find an individual as resourceful as Roshan.
The largest hindrance to my research was certainly the internship. I lived and worked in Patan and had to take the local bus out to Bhaktapur, travel time would amount to somewhere between three to four hours each day I travelled. The next time I conduct field research I will certainly ensure that it is my only project and that I immerse myself in the environment of my study. I missed many opportunities because of my internship, whether having to miss an event for work or having to schedule interviews. Although a common practice in the West, setting up meeting times is not a frequent practice of the citizens of Bhaktapur. Often I would meet an individual and have a brief conversation with them to find out that they would make an excellent informant, however, I would be on my way somewhere so I would have to set a time to come back and talk with them. More often than not, the potential informants would not show up to the meeting place, or they would come along at a leisurely pace while I waited for the afternoon. Had I lived in Bhaktapur and was able to focus solely on this research I know it would have had yielded significant benefits.
The Origin of the Navadurga
Few people in Bhaktapur know the story of the origin of the Navadurga tradition. Having spoken with the locals many are familiar with the Navadurga, their processions through the streets of Bhaktapur, and their use of masks and dance. However, not many are acquainted with the story behind the tradition; except for the Navadurga community and citizens who have sought education on the topic. Robert I. Levy is the leading scholar on the city of Bhaktapur and provides an account of the origin story in his book Mesocosm. This section of the paper will present the story as told by Levy followed by key differences and distinctions made by informants from Bhaktapur. The following is a summary of the origin story as presented by Levy:
The Navadurga inhabited the forest Jwala, which was located Northeast of Bhaktapur. As people passed by, the Navadurga would capture them, kill them, and then drink their blood as a sacrifice to themselves. One day the Navadurga captured a man by the name of Sunanda, who was a Ācāju (a priest of farmer origin). Unlike most Ācāju, Sunanda was an expert in Tantric knowledge and mantras (a sacred utterance) and was able to bind the Navadurga, restricting their movement with the use of a mantra. Embarrassed, the Navadurga pleaded to Sunanda to forgive them, and in exchange they would not sacrifice him. Rather than releasing them, Sunanda shrunk them, placed them in his basket and brought them back to his home in Bhaktapur where they were placed in a chest and received periodical worship.
Time passed, the amount is unknown, until one-day Sunanda’s guru, Somarā Rājopādhyāya (a Brahmin) came for a visit. Somarā Rājopādhyāya had a deep and intricate understanding of Tantra and had conveyed to Sunanda that he had not been worshiping the Navadurga properly. Therefore, Somarā Rājopādhyāya took the chest containing the Nine Durgās back to his own house in the Palisāche neighborhood, where he hid them. Somarā Rājopādhyāya worshiped the Navadurga in secrecy using Tantric bidyā (secret arts) and made sacrifices to them. The Navadurga were forced to dance and tell stories using the movements of their hands. Sometime prior, the Navadurga had informed Sunanda and Somarā that should anyone else see them they would be released from the spell. This made Somarā Rājopādhyāya act very surreptitiously; he told his wife to never look into the room where the Navadurga were kept locked up. One day Somarā Rājopādhyāya had left the house and his wife peeked into the room and saw the Navadurgas dancing. The stories differ in what happened to Somarā’s wife; some say that the Navadurga killed her as a sacrificial offering, others say that she was simply severely scolded by her husband. Regardless, the Navadurga, now released from their Tantric binds, escaped from the Brahmin’s home.
Upon their escape, the band of deities captured, sacrificed, and ate a pig at the place known as “Bha: Dwākhā.” Upon his arrival home, Somarā Rājopādhyāya was informed that the Navadurga have escaped. He immediately began pursuing them and with the beating of a small drum and the use of mantras he was able to freeze the Navadurga in their flight in the upper part of the city known as “Swaga Lwaha.” Somarā pleaded with the Navadurga to return to his house. However, this was not possible since the Navadurga had consumed a pig, making them ritually impure and thus impossible for them to reenter the Brahmin’s home. Since the Navadurga could not return to the Brahmin’s house they made the suggestion that a pyākha (dance drama) be arranged where the Navadurga would enter into the performers, allowing for the whole city to be able to see and worship them. Somarā established a god-house for the Navadurga and commissioned to the Gāthā community the authority and responsibility of performing each year as the Navadurga.
An alternative ending to the story is given where Somarā Rājopādhyāya instructed one of his students, an Ācāju to capture the Navadurga in a spell. After some difficulty the student was able to capture them, he then placed them into a god-house in the district of the city where the Gāthā reside. At the request of Somarā the Gāthā cared for the Navadurga and learned their dances. Somarā taught both the Ācāju and the Gāthā all the necessary Tantric procedures they would need. And thus, still following Somarā’s instructions, the Ācāju and the Gāthā still perform their duties for the Navadurga today.
The origin story as told by Levy provides a very thorough overview; only a few distinctions need to be made. The alternate ending to the story is reflective of the Navadurga community’s (Gāthā) perspective, whereas the first ending is reflective of the Brahmin’s perspective, minus a point or two. An informant of mine, Kedar Raj Upadhyay, claims to be the descendent of Somarā, the Brahmin priest from the story. Kedar makes the key distinction that the reason the Brahmin had to pass on the tradition, that is the responsibility and the authority of the Navadurga practices, to the Gāthā, a low ranking caste, was a form of punishment for breaking the oath of secrecy. Another key distinction made is that Somarā had two wives, one Brahmin wife and another low caste wife, and some believe that it was because the lower caste wife saw the Navadurga that the tantric bond was broken releasing the deities. As mentioned previously, the alternate ending provides the account believed by the Navadurga community (also known as Gāthā). The only difference in the story believed by the Gāthās is an element of predestination. The Gāthās say that while Somarā taught the Ācāju a Gāthā brought a delivery of flowers to Somarā, this Gāthā happened to have as many sons as men were needed to carry out the tradition’s practices, providing an easy solution as to who should assume the responsibilities and leadership of the tradition. The Ācāju, or priest, is now called Karmacharya, a role that will be elaborated upon later in this paper.
Some additional points can be made about the history of the tradition that is not included within the origin story. The Navadurga tradition began in the twelfth century of the Common Era under the Malla dynasty, who reigned over Nepal for six hundred years. The Malla were followers of Shakti gods (female), because they believed that the gentleness of the male deities could not protect their nation, king, and countrymen, whereas the dangerous Tantric goddesses could protect all three. Bhaktapur had temples built in cardinal points throughout the city for each of the Navadurga, replicating the Navadurga yantra thereby increasing the tantric power as a means to protect the city. Figure 1 presents a drawing done by Dr. Purushottam Lochan Shrestha of the layout of the Navadurga’s individual god houses with that of the Navadurga yantra. Each point on the periphery is a god-house as well as the point in the center. During the period of Malla rule over Nepal tantric practitioners knew that divinity could transfer itself into wood, stone, and
metal so they began running experiments to see if the divine could transfer into the human body. These experiments happened in the twelfth century and were found to be very successful. It is from this point that the Navadurga tradition as it is known today began. Furthermore, an interesting component of the Navadurga traditions is the use of pigs in sacrifice. Pig sacrifice is not a common practice in Hinduism, animals typically sacrificed include, sheep, goats, chickens, and buffalo. The central use of the pig in the tradition and from the origin story also began in the twelfth century. During that period the Muslim Turks established a powerful kingdom in northern India around Delhi and began to expand their control over the area. In an effort to preserve their culture and traditions the Newars of Bhaktapur adopted the use of pig sacrifice since the Muslims think poorly of pigs and avoid them. The efforts made by the Newars of Bhaktapur successfully preserved the beliefs and traditions of the Malla dynasty so that they could still practiced today.
The Navadurga Today
The Navadurga tradition as practiced today is an intricate tradition that relies solely on the tradition’s keepers, who have been referred to as the Navadurga community throughout this paper, and from the local patrons who provide their support. The Navadurga festival is the longest festival in the area, spanning over nine months and including many specific rituals and ceremonies, and encompassing several other festivals. This section of the paper will present the tradition as it is found today, first by identifying the traditions membership, then its activities such as ceremonies, rituals, and preparations, in addition to its relations and operations.
The first group of membership to be elaborated upon will be that of the Navadurga themselves. The name Navadurga refers to the nine Durgas who are Mahālaksmī ,Mahākālī, Kumārī, Vārāhī, Brāhmanī, Bhadrakālī (also known as Vaisnavī), Indrānī, Maheśvarī, and Tripurasundarī. Each of these goddesses has a dyo-chen (god house) located in a specific area in the city of Bhaktapur that together form the shape of the Navadurga yantra (figure 1). Of these goddesses Mahālaksmī is the paramount deity; she draws power from Taleju and gives it to the Navadurga. Mahālaksmī does not have a mask; instead she is represented as a silver repoussé that is carried in the lead of the Navadurga processions to showcase her superior position. The Navadurga tradition involves an additional six deities who are Bhairav, Sweto Bhairav, Śiva, Ganesh, Sima and Duma. Bhairav is the leader of the Navadurga and assumes that role in the performances. Sima (tigeress) and Duma (lioness) are the protectors of the Navadurga and accompany them everywhere. All of the deities aforementioned are represented in the Navadurga tradition in some fashion. There are thirteen masks who represent all but Mahālaksmī and Tripurasundarī. As mentioned previously Mahālaksmī is represented in a silver repoussé that is carried in front of the processions. Tripurasundarī’s representation is disagreed upon. Some informants say that Tripurasundarī is represented in the three musical instruments played, while others insist that she is represented by the Kolachen (human skull cap used a cup).
As mentioned earlier there is a specific community who acts as the sole authority and keeper of the Navadurga tradition. This community prefers to be called Banmala. Other names used for them include Gāthā, as used by Levy, and Gunkā. These names provided are the surnames used by the community. While a majority of them identify themselves as Banmala, you may also find some of the other variations, dependent upon how the individual’s forefathers decided to identify themselves. The Banmala are a low caste group that traditionally farmed and sold flowers to the greater community. Today some still occupy this traditional role, however others have began to farm other crops such as rice and barley. The Banmalas are the tradition’s keepers; they alone fulfill the requirements of the tradition as well as occupy an overwhelming majority of the positions in the tradition. Other individuals or communities assist and will be elaborated upon shortly. The Banmalas provide all of the performers, known as Gana, for the tradition. The Gana includes twelve dancers and three musicians. In addition to the Gana, the Banmala also occupy the roles of temple priests (additional priests from other communities come to perform specific rituals), temple caretaker (known as the Nakin, also to be elaborated upon shortly), the tradition’s leaders (the Naya), as well all other roles needed to upkeep the tradition. The roles of Gana, Naya, and Nakin are restricted to Banmalas only. Should a Banmala marry someone from outside of their community both they and their offspring will not be allowed to assume a position within the Navadurga tradition. As previously mentioned there are other groups or individuals from outside of the Banmala who assist in the tradition. Table 2 presents the various other groups or individuals who assist along with their respective role. These groups either assist as a whole or there is a specific individual from the group that is responsible for completing the tasks (those who are individuals are marked with an asterisk). Some of the groups fill very minor roles, specifically the Shakya, who interestingly enough are the highest caste in the Newar community but assume the least important role within the tradition. This is an interesting contradiction to mainstream Hinduism. The Shakyas are the highest caste in the Newar community, however, they assume a very minor role in the city’s dominant tradition. All of these roles listed in Table 2, regardless of how small they may seem, are important aspects of the tradition.
Artisan who creates the masks each year. This role is passed down from generation to generation
The clay workers who provide the clay for the masks
Sacred priest of the Navadurga who performs specific rituals. Such rituals include the puja at Ganesh Chaturthi and Dashain
Also performs rituals and puja, such as the cremation of the masks
Colour the sacred thread
Musicians who perform at some events. Different from the musician members of the Gana
Newar priests who perform special puja
Kill the buffalo during Dashain
Repair damaged jewelry
* Note: the names marked refer to a specific individual from their respective community.
The involvement of the Banmala in the tradition can be broken down into four positions or roles. There are the Gana (fifteen individuals), the Naya (eight individuals), the Nakin (one individual), and periodical roles of assistance (number of individuals varies dependent upon the event). The periodic roles are filled according to availability and vary in their responsibilities. These positions are not dictated in the same fashion as the other roles of the Naya, Nakin, and the Gana. The Gana is made up of twelve dancers and three musicians. The musicians are responsible for playing the traditional instruments known as the khin (a large drum played on both sides), ta (small cymbals), and kya (large cymbals). The remaining twelve
members of the Gana are performers who dance and wear the masks throughout the festival. These twelve members wear the masks of Bhairav, Mahākālī, Vārāhī, Kumārī, Bhadrakālī, Brāhminī, Indrānī, Sweto Bhairav, Maheśvarī, Ganesh, Sima and Duma. Young Banmalas between the ages of five to twelve wear the masks of Sima and Duma. The Gana occupy their roles on a yearly basis, although they may be chosen to perform back to back in either the same position or another one; the rotation cycle comes from a sacred book that will be discussed later in this section. Gana members have to follow specific rules while in their position; such rules include not sharing food from the plates of others except for from fellow Gana. They can not wear their costume or ornaments outside of the specified performance areas, they must always act in a respectful manner; they are restricted to only one meal on performance days, they must be barefoot whenever they are in their ceremonial costume, and finally they may not participate in funeral rights during performance or ritual periods. When the Gana are learning their roles during the off months of the Navadurga tradition they are restricted from coming in contact with women, and must visit their respected god’s/goddess’ dyo-chen (god house) everyday to worship and pray. The Gana positions are restricted to men only. The only position occupied by a woman is the role of Nakin.
The Nakin is a specific role that takes care of the Navadurga temple and performs the daily puja. The daily puja is known as Nitya puja and the Nakin performs it twice a day, once after sunset and again before sunrise. The Nakin position operates an annual cycle, each year a new woman will assume the position. The Nakin must live on the temple grounds and act as a guard to protect the images, keep the temple clean, perform daily puja, and take on additional responsibilities during various ceremonies and rituals.  Such responsibilities include purifying the Gana before performances and preparing for feasts that are held at the temple. The Nakin must be married. If she is widowed during her time as Nakin she will be replaced. The Nakin has more specific responsibilities over the course of the year than any other member of the Navadurga tradition. The Nakin’s role is another contradiction to mainstream Hinduism. Women are typically not the caretakers of temples as they are not able to become as ritual pure as their male cohorts.
The Naya are the leaders of the tradition. There are eight Nayas in total who work collectively as the managers of the tradition.  The Naya are experts and knowledgeable about all aspects and roles of the tradition. They ensure that the temple has all of the supplies it needs to perform all of their required rituals, events, and ceremonies of the tradition as well as care for the ornaments and clothes and manage all of the performances. Such supplies include oil, food, animals for sacrifice, and all essential items for offerings. The role of Naya is a family position that is passed from father to son. If a Naya does not have a son he will instruct his oldest nephew from among his own siblings. It is unknown how the linage of the Nayas was chosen. Like the other positions, the role of Naya operates on an annual cycle; the number of Nayas who are active in their position changes each year. Also like other positions, the Nayas selected each year is predetermined in a book that is kept secret. The Nayas are the sole caretakers of the unnamed book that provides some sort of mechanism for selecting the people who will fill the various roles of the tradition each year. The name and origin of the book are kept secret; interestingly though they are comfortable revealing its existence.
The Tradition’s Activities
The Navadurga tradition is unique in its use of masks, its mobility, and in its social roles. While wearing the masks, it is believed that the gods who are represented come to manifest themselves in the humans. This instance is an excellent example of an aspect of the Navadurga tradition that contradicts mainstream Hinduism. While wearing the masks the Banmala, a low ranking social group, becomes regarded as divine and assumes a position on the top of the social hierarchy. While wearing the masks the Banmala are believed to transcend the normal social order as well as normal human capabilities. During this time the beings are able to do things not normally done by humans, such as drinking liters of alcohol and eating hundreds of eggs. While wearing the masks the Gana also drink blood from sacrificed animals. Most sacrifices to the Navadurga are pigs, however, buffalo, goat, sheep, chicken, and ducks are also sacrificed. The concept of sacrifice and blood offerings can be found in the tradition’s origin story in addition to being a common practice in Durga worship. Of the Navadurga, Bhairav is the member mainly responsible for conducting the sacrifices. Some instances require Mahakālī to perform the sacrifice, and if neither Bhairav nor Mahakālī are able to perform the sacrifice than Varahi is responsible for it. This order is reflective of the order of importance of the deities and is also reflected in the order of dance performances. The Gana perform their dances in the following order: Bhairav, Mahakālī, Vārāhī, Badrakālī, Kumārī, Maheśvarī, Brāhmanī, Ganesh, Indrānī, Sima, Duma, and finally Sweto Bhairav. The Navadurga tradition follows an annual cyclical pattern that begins with Gathemangal.
Gathemangal is a Newar festival that is dedicated to cleansing away demons. Constructing figures built from straw, to represent the demons, and then burning them removes the demons. The festival is marked with loud music and processions of people carrying torches through the streets to light the straw built demons at each cross-road. For the Banmalas this day marks the beginning of the new Navadurga cycle. Every year new masks are made at the beginning of the Navadurga cycle and then cremated at the end. When the masks are cremated the city of Bhaktapur believes that the Navadurga has left their city to go into the countryside to ensure that the agricultural cycle begins. During this time while the Navadurga are away the city becomes occupied with demons. On Gathemangal the Prajapati provide the Banmala with the clay that is used to build the masks. In turn the Banmala take this clay to the Chitraker’s home to be worshiped as Śiva and sacrifice a chicken as an offering. This marks the beginning of the construction of the new masks and the return of the Navadurga to Bhaktapur, which is why the city is being cleansed from demons. The masks need to be completed by Dashain, which is less than two months away. Gathemangal happens in accordance with the lunar calendar and marks the start of a rigorous training period for the Gana. During this training period the Gana have to adhere to the rules listed above under membership and must perform puja at their respective god’s house each day.
The next annual event is Ganesh Chaturthi, a festival dedicated to Ganesh. The Navadurga have their own event that coincides with this festival. At this time the Gana make a procession from the Navadurga temple to the Nasadyo temple where the Karmacharya will perform the ritual and sacrifice a sheep. Nasadyo is a tantric god of wisdom and knowledge that is worshiped by the Gana everyday from the period of Gathemangal to Dashain so that they may be granted the knowledge necessary to perform their roles. Following the sacrifice of the sheep all Gana members eat a piece of the raw flesh combined with beaten rice. The Gana who performs as Brāhmanī takes a piece of the sacrificed sheep to the Brāhmanī temple to performs a specific puja ritual. After these rites have been completed all of the Gana members return to the Navadurga temple where a feast is being prepared. The sacrificed sheep is butchered and cooked for the feast and the sheep’s hide is removed, stretched, and framed and placed in the sun to dry. The temple will use the sheep hide for some task, such as to repair a damaged drum. Following the feast the Gana perform their first dance of the season. This is the only dance that the Gana perform in public that they do not use their masks for, since the masks have not yet been completed. These dances are not expected to be perfect, since it is some Gana’s very first public performance. Each performer will perform an independent dance, except for Indrānī, Sima, and Duma who all perform together. Following these dances a group number is performed in honour of Ganesh, with the Ganesh Gana in the center.
The next event in the annual cycle is Dashain, the largest Durga festival. By this time the Chitraker will have completed the masks and they are placed on display on the ninth day of Dashain where the citizens of Bhaktapur come to give them offerings and puja.Offerings typically consist of egg, fish, meat, wine, and set Newar food dishes (beaten rice, dal, and spicy potatoes). Before the masks are displayed they are taken to the Taleju temple in the palace compound (Durbar Square) of Bhaktapur where they receive initiation rituals. These rituals are unknown as the members of the Banmala would not share this information; they did however say that the masks received similar initiation rituals as Hindu people. Following their initiation the masks are then regarded as divine and set out to be worshipped by the public. On the tenth day of Dashain Brāhmanī is worshiped in the morning and then a buffalo is sacrificed at the Brāhmanī temple. Following the sacrifice the Navadurga make a procession towards the Taleju temple in Durbar Square. Prior to making the procession the Karmacharya hands each performer their masks, symbolic of the Karmacharya’s, or Ācāju’s, role in capturing and placing the Navadurga into the care of the Banmala. The Taleju image is removed from the temple and placed at the front gate to greet the Navadurga. Having greeted the Navadurga the Taleju image is then taken on procession with them throughout Bhaktapur; this is the only time that the Taleju image is removed from the temple.
Following Dashain the Navadurga Gana journey around the Kathmandu Valley where they perform specific rituals in each community they pass through in addition to being commissioned by patrons to come perform private rituals. The Navadurga travel to the following destinations:
Kavre District: Nala, Banepa, Dhulikhel, Panauti, and Shreekhandapur.
The Navadurga are prohibited from using vehicles. Instead they walk everywhere; they go with bare feet. It is believed that they cleanse the areas they walk through from disease, which is why they must walk everywhere.
After visiting the surrounding areas and performing their rituals at each one the Navadurga season begins to come to an end. Sirja and De-chā-mukego, the last supper and last ceremony, mark the conclusion of the Navadurga season. The De-chā-mukego is the final procession of the Navadurga through Bhaktapur that ends at the Taleju temple. Within the temple compound the Navadurga have their last supper (Sirja) and then return to each of their own respective god house. The next day the masks are cremated at the Brāhmanī temple funeral pyres. The cremation marks the end of the annual Navadurga cycle and it is believed that the goddesses have left Bhaktapur to attend to the fields, crops, and farmers. After the Navadurga have left the city compound a sacred room in the Navadurga temple is sealed off until the Navadurga return, in the next two to three months. After this point the Banmala community begins to train the new Gana and prepare for the next annual cycle.
Relations Between the Locals and the Navadurga
The Navadurga of Bhaktapur are the city’s protectors from violence, disasters, disease, and illness in addition to ensuring agricultural prosperity. The Navadurga dance is a symbolic representation of the struggles, responsibilities, and discipline of the society in which it is based. A common belief in Bhaktapur is that the ringing sounds of the music played by the Navadurga Gana not only give the rhythmic signals to the dancers but also removes all obstacles caused by evil beings. It is for this reason that the Navadurga perform in so many communal areas throughout the Kathmandu Valley. The local people not only believe that the Navadurga remove obstacles and illness, but also that they answer wishes and provide blessings for those who worship them and give them offerings. Those who give the Navadurga money receive Prasad, a gift, in the form of flowers, plants, sacred thread, or food. The sacred thread is tied around the wrist and/or the neck using a specific knot according to tantric beliefs to grant the individual purity in their life. One informant’s grandmother stated that the Navadurga also assist in the digestive system. She recommended that you be careful about what and how much you eat during the months when the Navadurga have left the city. The relationship with the Navadurga and the local populations is of reciprocal nature. While the locals rely on the Navadurga for protection and as removers of obstacles and illnesses, the Navadurga rely on the locals for financial, social, and physical support. The local community donates the clothes worn by the Gana and the Gana must keep and use these clothes until new ones are donated. It is believed that the clothes hold Shakti power which would be lost if the clothes were washed, therefore the clothes remain unwashed and unchanged until the community provides new ones. It is typical for the outfits to be worn for years before they are replaced. While the Navadurga protects the locals they in turn are also in need of protection. Although the Navadurga are gods, they posses the bodies of humans during the Navadurga rituals and become vulnerable. On several instances the Navadurga Gana have been attacked or stolen from while wearing the masks, resulting in broken bones, lost artifacts, and offended deities. The Navadurga rely on the local people and authorities to ensure that the spaces they occupy for their rituals remain safe and sacred. The Navadurga tradition as operated by the Banmala relies heavily on the local community for financial support in order to maintain the traditions as it is practiced today.
The Navadurga tradition relies heavily on its patrons for financial support. The tradition costs approximately 900,000 NRS (Nepali Rupees) per year, without accounting for inflation, which is equal to $10, 537.41 CAD (at an exchange rate of $1 CAD to 85.41 NRS). While this amount seems small from a western perspective, it is a large sum for the people of Nepal. Most of the community members are labourers and a labourer’s salary may range from $80-$250 CAD per month. This total covers the maintenance of the temple, the daily necessities (such as oil for the lamps), the supplies for specific rituals, and animals for sacrifice. The Navadurga make a small earning by renting a few small pieces of property either for farming or in the city to be used for small storage spaces or stores. The remainder amount of the costs is collected throughout the Navadurga festivals from either privately commissioned rituals or from the crowds of people at Navadurga ceremonies and events. The members of the Navadurga tradition do not receive any monetary compensation for their roles. This places a huge strain on the members of the tradition since the various roles last for a whole year when one includes training periods. Members are permitted to work when they are not training or performing. However, the type of work they can do is limited due to the demanding schedule of the tradition and the odd hours it requires. These strains cause a lot of Banmala to remove themselves from the tradition and focus on earning a living and providing for their families. Modernization and westernization are challenges and obstacles faced by the Navadurga tradition. In years past the tradition had the patronage of the royal family, which secured the tradition and brought with it ample support. However, today the government of Nepal does not provide any subsidies or support for religious traditions. Modernization also has effects on the individual and collective values. In past periods the sacred was closely aligned with people’s values, and the positions in the Navadurga tradition would have carried prestigious value. However, today values are beginning to be reflective of the western practice of materialism, which lures the Banmala towards jobs, and positions that do not allow for them to commit the time necessary for being an active member of the tradition.
This paper has presented a report of the Navadurga, a Hindu tradition from Bhaktapur, Nepal. The Navadurga employ interesting and unique practices not present in other traditions. Such practices include mobile deities, the use of masks, an integral female position, and a unique inversion of social roles. It is interesting how interdependent the Navadurga and Newar community of the Kathmandu Valley are. The Navadurga are just as much reliant on the community as the community relies on them. The Banmala have managed to preserve the ancient Navadurga practices due to their rigorous dedication. Although they face many strains I am hopeful that the tradition will remain for many more generations in to the future.
I would like to thank the University of Lethbridge for providing me with the opportunity to travel to Nepal and experience this amazing tradition. I have learned and grown from this experience in countless ways and know that this growth will benefit me in my future endeavors. I would also like to thank my Professor Dr. Hillary Rodrigues for believing in my capabilities and helping me make this all possible. Finally I owe a lot of gratitude to the Banmala for allowing me to conduct this research and for welcoming me into their community and sharing their stories with me. I will cherish the memories built throughout this experience for the rest of my life. Thank you.
 Laura Amazzone, Goddess Durgā and Sacred Female Power (Lanham, MD: Hamilton Books, 2010), 3.
Amazzone, Laura. Goddess Durgā and Sacred Female Power. Lanham, MD: Hamilton Books, 2010.
Chitgopekar, Nilima. The Book of Durga. New Delhi: Penguin Books India, 2003.
Geertz, Hildred. The Life of a Balinese Temple. Honolulu: University of Hawai’i Press, 2004.
Gutschow, Niels. “The Astamātrkā and Navadurgā of Bhaktapur.” In Wild Goddesses in India and Nepal, edited by Axel Michaels, Cornelia Vogelsanger, and Annette Wilke, 191-216. Vol. 2. Berlin: Peter Lang, 1994.
Levy, Robert I. Mesocosm. Berkeley: University of California Press, 1990.
Rodrigues, Hillary P. “Divine Times: Goddess worship in Banāras.” In Studying Hinduism in Practice, edited by Hillary P. Rodrigues, 131-45. New York: Routledge, 2011.
[Article written by: Brandon McNally (December 2010) who is solely responsible for its written content and pictures.]
The Devi Bhagavata Purana is one of two Bhagavata Puranas. It exalts the goddess Devi, and the other praises the god Visnu. The Devi Bhagavata Purana is a more brief form than that of Visnu’s Bhagavata Purana. Devi only speaks half a sloka (a metric style in prose composition; a couplet (Rodrigues 564) propounding herself as the ground of all being (Brown 17).
“All this universe indeed is just I myself; there is nothing else eternal.”
The Devi Bhagavata Purana [DBP] is comprised of 12 books (skandhas), 318 chapters, and 18,000 verses (slokas). It is a Sakta Upa-Purana, the “lesser” Puranas. There are eighteen or nineteen Maha (greater) Puranas, and many Upa (lesser) Puranas that encompass the vast body of Puranic literature (Rodrigues 290). There is conflict over the exact age of the text. An old age would suggest more validity and greatness for some [See Brown “The Problem of Canonicity” (18-24); looks at both religious and academic perspectives and compares differing views of scholars], however, there is evidence that such texts are often edited, adjusted, modified, and expanded upon in order to heighten the status of the text and present it in favour of devotees. There is evidence that the Devi Bhagavata Purana is not an exception to these practices (Brown 20-21).
The goddess Devi is usually portrayed in myths as a warrior whose mount is a lion named Mahasingha, and is known to defeat many demons; however she is also the cosmic mother, especially to her devotees. She is not typically seen as the wife, consort, or sakti of particular male gods (Rodrigues 323). She is beyond being a consort to anyone, though she bears a special relationship to every deity (Hawley & Wulff 32). For her devotees, Devi is independent and embodies the powers of all the gods combined. She is known by many names, most often known as Durga (She who is Formidable), or Candi (She who is Fierce). Other names include Prakrti (matter or nature), Maya (trick or illusion), Sakti (power or ability) (Coburn 20), and Mahamaya (the great matrix of phantasmal reality) (Rodrigues 323). She is also Parvati or Kali, themselves eventually known as individual goddesses. Devi is also associated with a “horde of females known as ‘the Mothers.’” There are hundreds of females part of this group and are known to be fighting, ferocious, and bloodthirsty beings, although the maternal instinct associated with Devi runs deep in all of them (Coburn 21).
There are two particularly important festivals associated with the Great Goddess, a spring and an autumn Navaratra (“nine nights”). The spring festival evidences Devi’s associations with fertility, while the autumn celebrations draw in Devi’s marital dimension (Rodrigues 324). Instructions on sacred places, vows, festivals, such as the Navaratra, and proper worship of Devi can be found in the Devi Bhagavata Purana.
“The two nine nights vow called Navaratra are to be observed, one in the autumn and the other in the spring season. These are very dear to Me. He is certainly My devotee and very dear who for My satisfaction performs these and the other Nitya Naimittik vows, free from any pride and jealousy. He certainly gets the Sajujya Mukti with Me.” (DBP 7:38:42-43) [Mukti is freedom/release from samsara/bondage, See Rodrigues (556)]
The Devi Bhagavata Purana is only one of many texts celebrating the Great Goddess. This text takes into account many myths already told in other Hindu sacred texts and elaborates on, retells, and/or adjusts these stories. In the second book and sixth chapter, the birth of the Pandavas [the family in constant rivalry and conflict with their cousins, the Kauravas, from the Mahabharata epic] is told (Rodrigues 230). However, the Devi Bhagavata Purana makes relatively few changes, and avoids direct contradictions with the Mahabharata (Brown 21). The question of which of the two Bhagavatas is more genuine is often raised, and many scholars argue over which has more authority. The Devi Bhagavata Purana could seem, to some, to be completely aware of the “tampering” of certain myths in Visnu’s BhagavataPurana, and therefore purposely makes fewer changes and goes back to a more ancient standard in order to gain authority over Visnu’s Bhagavata Purana (Brown 21). Puranic works, such as the Devi Bhagavata Purana emerged by the 7th century CE, though many were composed later. (Rodrigues 281), therefore it is a late Purana. There is speculation over its age and its placement as an Upa-Purana versus a Maha-Purana by many scholars, however, at present; it is in the category of an Upa-Purana, despite the conflict.
Mention of Sita, Rama, Laksmana, and Ravana [characters from the Ramayana epic] is made in the third book and twenty-eighth and twenty-ninth chapters. These two chapters describe the birth of Sita, her discovery by King Janaka, the capturing of Sita by Ravana, and Rama’s search for her. The Ramayana makes no mention of Devi worship by Rama; however, a change made in the Devi Bhagavata Purana is that Rama finds solutions to his problems in Devi worship, due to the goddess-centered worship of the text (Brown 167). In the Devi Bhagavata Purana, Rama performs the Navaratra (nine night ceremony devoted to Devi), then Devi appears to Rama, informs him of his previous incarnations [he is an avatara of the god Visnu; the birth of the various avataras of Visnu can be found in the fourth book of the Devi Bhagavata Purana], reveals his purpose to kill Ravana, and promises him the recovery of his kingdom, if Rama continues to worship her (Brown 167-168). [For further information on the Ramayana epic consult Rodrigues (2006) or Valmiki/Goldman (1996)].
The Devi Mahatmya, also known as the Durga Saptasati, is another goddess-centered text that tells of the conception of Devi. The fifth book and eighteenth chapter of the Devi Bhagavata Purana recounts the slaying of the buffalo demon Mahisa by Devi, a retelling of the myth from the Devi Mahatmya (Glorification of the Great Goddess) text. Devi is endowed with the powers and weapons of all of the gods in order to slay the great buffalo demon Mahisa.
“Visnu then addressed all the Devas to give all their auspicious ornaments and weapons, He said: — ‘O Devas! Better give, all you the various arms and weapons, endowed with strength, created out of your own weapons and give them all today to the Devi.’” (DBP 5:8:75)
Certain elements differ in the Devi Bhagavata Purana from the Devi Mahatmya, such as the weapons in which Devi slays Mahisa. In the Devi Mahatmya, she slays him by crushing him with her foot, impaling him with her spear, and beheading him with her great sword (Rodrigues 323). In the Devi Bhagavata Purana, Devi pierces the demon with her trident, and then beheads him with her discus of a thousand spokes.
The Hindu belief in karma is also demonstrated in the Devi Bhagavata Purana. Karma is the concept of causality in moral action in which good deeds are meritorious (punya) and evil or sinful deeds (papa) have painful effects (Rodrigues 551). The fourth book and second chapter states:
“O best of kings! The fruits of karma must have to be experienced, whether auspicious or inauspicious, be he a Deva, or human being or an animal; anyone who has embodied himself in fine or gross bodies!” (DBP 4:2:34)
The Devi Bhagavata Purana covers many subjects, retells many myths, tells of the benefits of worshipping Devi, instructs how to worship Devi, illustrates hells and the destiny of sinners, explains the origins of the Earth and of other deities, speaks of narratives, explains hymns to Devi, and much more. Although it is an Upa (lesser) Purana, it contains vast amounts of information and requires great study in order to fully comprehend and explain. [The entire English translation by Vijnanananda of the Devi Bhagavata Purana is available online and also in print copy; link attached below.]
Devi’s many devotees are part of the Sakta sect in Hinduism and hold her as preeminent. Devi developed as an independent goddess unattached to any male sectarian tradition, and therefore is the basis of the goddess-based sectarian tradition, Saktism. [For more information on Saktism consult Tigunait (1998) or Rodrigues (2006)]. Devi is Sakti, the power that creates the cosmos. The devotees designated as Saktas form a smaller segment of Hindu population than either Saivas (worshippers of the god Siva) or Vaisnavas (devotees of the god Visnu) (Rodrigues 278-280). Devotees recognize that Devi has an ultimate form (formlessness) and an intimate form (accessible through faith), this presents that the gods themselves cannot know the cosmic form of the goddess without the personal extension of her grace (anugraha), and this can be done only through loving devotion (bhakti) to her (Beane 56). Therefore, devotees are strongly devoted to Devi because only through this loving devotion do they receive Devi’s good graces, any less would have consequences. The benefits of worshipping the goddess Devi and reading goddess-centered texts, such as the Devi Bhagavata Purana, can be recognized in verses from the text itself:
“She regulates the hearts of all and is the Cause of all causes. Without Her worship no one’s desires can be expected to be accomplished. Therefore, O Best of Suras! Worship the Universal Mother, the Prakrti Devi with greatest devotion and with greatest purity for the destruction of your enemy…She will then surely fulfill your desires.” (DBP 6:5:6-31)
References and Related Readings
Beane, Wendell C. (1973) History of Religions – The Cosmological Structure of Mythical Time: Kali-Sakti. Chicago: The University of Chicago Press.
Bhagavata Purana, 2 vols. text and translation. Gorakhpur: Gita Press, 1952-60.
Brown, Cheever Mackenzie (1945) The Triumph of the Goddess: The Canonical Models and Theological Visions of the Devi Bhagvata Purana. Albany: State University New York Press.
_____ (1974) God as Mother: A Feminine Theology in India: An Historical and Theological Study of the Brahmavaivarta Purana. Hartford, Vt.: Claude Stark.
Coburn, Thomas B. (1991) Encountering the Goddess: A Translation of the Devi-Mahatmya and a Study of Its Interpretation. Albany: State University New York Press.
Das, Bhagawan (1962) Krsna: A Study in the Theory of Avataras. Bombay: Bharatiya Vidya Bhavan.
Hawley, J.S & Wulff, D.M. (1998) Devi: Goddesses of India. Berkeley: University of California Press.
Hazra, R. C. (1958-63) Studies in the Upapuranas, 2 vols. Calcutta: Sanskrit College.
Kinsley, David (1986) Hindu Goddesses. Berkeley: University of California Press.
Pintchman, Tracy (1994) The Rise of the Goddess in the Hindu Tradition. Albany: State University of New York Press.
Pulasker, A. D. (1955) Studies in the Epics and Puranas of India. Bombay: Bharatiya Vidya Bhavan.
Rodrigues, Hillary (2003) Ritual Worship of the Great Goddess: The Liturgy of the Durga Puja with Interpretations. Albany: State University of New York Press.
_____ (2006) Hinduism – The eBook: An Online Introduction. Journal of Buddhist Ethics Online Books, Ltd.
Tigunait, Rajmani (1998) Sakti, the Power in Tantra: A Scholarly Approach. Honesdale: Himalayan Institute Press.
Valmiki, David & Goldman Robert P. (1996) The Ramayana of Valmiki. Princeton: Princeton University Press.
Van Lysebeth, André (1995) Tantra: The Cult of the Feminine. York Beach, Me.: Samuel Weiser.
In Hindu mythology the goddess Taleju, or Taleju Bhavani, is considered to be the tutelary and wrathful form of the Goddess Durga. Durga is known to be the embodiment of all powers and to be the source of and contain all other goddesses within her (Monaghan 88). The creation of the goddess Durga was actually by the gods themselves. While the gods were resting after fighting with demons, a particular demon, named Mahishasura, took advantage of the god’s absence and declared himself Lord of Heaven and Ruler of the Universe (Harding 53). Upon hearing this declaration Visnu was outraged and “shot forth a terrible light from his forehead” (Harding 53). All the other mighty gods were similarly angry and also shot forth beams of light in the same direction of Visnu’s. The beam of lights eventually converged and from the blazing eruption of light the Goddess Durga emerged. In some scripts Taleju has also been referred to as Kali, another form of the goddess Durga known for her destructive nature. Taleju is also known by many different names such as Tulja, Turja, Tava, Tamva, Talamonde, Talesvari, as well as Manesvari (Slusser 316).
In the Kathmandu Valley the goddess Durga in the form of Taleju has a special place of worship among the Newar society. Three major cities lie within the valley Kathmandu, Patan, Bhaktapu. It has been estimated that about 5 percent of Nepal’s people live in the Kathmandu Valley which is around 600,000 people and it is thought that half of the population is comprised of Newars (Levy 35). The Newars are a people whose nation ruled long before Nepal was established. Their borders are generally accepted as having included the slopes of the hills that surrounded the Kathmandu Valley.
In this society the goddess Taleju is extremely important; she represents the political aspect of the society in Kathmandu Valley, she is the most important deity, and is the goddess to which all other goddesses pay homage. She is the tutelary goddess to the Nepalese or Malla kings and the success, greatness, and prosperity of the kingdom is controlled by her. The Malla Kings often used the Goddess Taleju in order to legitimize their rule and succession in the Kathmandu Valley. The mantra of Taleju is a mark of the ruler’s succession and is very important to receive. It is thought that if a ruler failed to receive the mantra, he was liable to lose his kingdom (Allen 15). Even when the Malla kingdom was conquered during the Shah dynasty, the new king adopted Taleju as his new royal deity, in order to prove and cement his legitimacy to the throne.
The Kumari are another form of the Goddess Taleju and are young girls considered to be the human manifestation of the Goddess Taleju. The origin of using the Kumari to worship the goddess is explained in Nepalese mythology. There are several different versions of the myth, but they all point to a Malla king upsetting the Goddess so greatly that she refuses to appear to him in her true form. One myth claims that the Goddess Taleju agreed to appear before the king Trailokyamalla of Bhaktapur and in return he had to secretly establish a symbol of the goddess and allow no one to see it. However, one day while he was worshipping, the King’s daughter walked in and saw the symbol. Taleju revoked her agreement with the King and refused to appear to him unless she was in the body of a young high-caste girl (Slusser 316). Another account implicates the King Ratnamalla and his sister Gangi as the intruder (Slusser 316). Other versions say that the King Trailokymall used to play games of dice with Durga at night and she would give him advice on the affairs of the state. Unfortunately the King became so overwhelmed by her beauty and her sexuality that he started to have impure thoughts, making it too difficult to concentrate on his actions. The Goddess perceived the thoughts of the King and was offended; consequently the goddess informed the King that he would no longer hold the privilege of seeing her in her goddess form, and instead she would appear in the body of a young virgin girl (Amazzone 72). Yet another description explains that it was the jealousy of the Queen that angered the Goddess. Not knowing that the beautiful women playing dice was indeed the Goddess Durga the Queen burst into the King’s chambers and accused him of infidelity. Outraged, the Goddess furiously stood up waving her ten arms and several of her other enraged faces came forth showing her multi-headed manifestation of the Goddess Taleju declaring that she will no longer give him her help (Amazzone 72). The King was devastated and for days he performed pujas to win back the affection of Taleju, but again she will only return to him in the body of young girl so as not to cause anymore outbreaks of jealousy (Amazzone 72).
The worshipping of the Goddess Taleju in the form of a young virgin girl, or Kumari, became a tradition in the Newar society and has continued to this day. Usually young girls between the ages of two and four are selected to take on the role of a living Kumari, but they can be even younger. Many different girls can be worshipped as living Kumaris at the same time and there are three principal Kumaris in the three cities of Bhadgaon, Kathmandu, and Patan. These girls are chosen on a measure of purity, to which there is specific criteria. In the case of the Royal Kumari of Kathmandu, physical and psychological testing is done in a rigorous examination that is carried out by a committee appointed by the King’s priest (Allen 20). A group of eligible girls is brought before the committee on an auspicious day to be examined using a list of 32 perfections thought to be found in goddesses. The young girls must be in perfect health, suffering no serious illness especially an illness that may have caused a physical imperfection, no bad body smells, black hair and eyes and most importantly the girls must not have lost any blood from things like losing teeth or the start of menarche (Allen 20). The committee is also expected to take into account the reputation of the young girl’s family and her personality. If the committee is unable to find a young girl without an imperfection, they will choose the girl who most closely portrays the ideal (Allen 20). Once there has been a selection the young girl is brought to the palace of the king where he offers her a coin. She then returns to her home until the installation rites can be formed making her the new living Kumari (Allen 20). During the wait for the installation rites the spirit of the Kumari is thought to already be entering the body of the young girl, so if she shows any negative bodily symptoms she is considered to be unworthy of the role (Allen 20).
Once the girl is officially inducted into the role of the Kumari she is taken from her parents and family, and lives separately for the remainder of her term. The young girl is given attendants and caretakers to see to her needs (Allen 24, 25). Because the Kumari is a goddess, she is allowed to behave however she wishes, and she cannot be given instruction. However, if the Kumari was to consistently behave in a manner that was unbecoming, she would not be considered fit to continue her duty (Allen 27). The Kumari is an important part of religion and events in the Kathmandu Valley and is worshipped by the inhabitants of the Nepal; she is expected to appear in various rituals and participate in the many important festivals (Allen 28).
The young girl will continue her role as a Kumari until she shows signs of being human. The two biggest signs are the loss of teeth resulting in blood, or the beginning of the girl’s menstrual cycle. Once these signs appear the young girl is disqualified and a new Kumari is chosen (Allen 22). The now ex-Kumari must give back all of the valuable garments and jewellery she possessed during her reign and proceed through the life-cycle rituals and the rituals that will lead to her marriage (Allen 22).
References and Further Recommended Reading
Allen, Michael R. (1975) The Cult of Kumari: Virgin Worship in Nepal. New Delhi: Siddhartha Press.
Amazzone, L. (2010) Goddess Durga and Sacred Female Power. Plymouth: Hamilton Books.
Anderson, Mary M. (1971). The Festivals of Nepal. London: Allen and Unwin.
“I am the power that manifests everywhere
I am life, I am death,” says the Mother (Tewari 31)
The Great Goddess of the Hindu tradition is Durga. She is Sakti (cosmic energy), everything in all parts of the universe (Tewari 8). She is worshipped throughout India in various forms and known by an incredibly extensive list of names. These names and representations will be explored here, along with the myths which surround the Goddess. Associated with the gods of the Hindu pantheon she is an unstoppable force known for slaying demons and spurring the gods into action. There are early depictions of feminine figures from the Indus Valley Civilization of the first/second century BCE, but there is no concrete proof that these figurines and icons are goddesses comparable to Durga. Although the Vedas mention goddesses, there is no overwhelmingly powerful feminine figure which stands out as the Great Goddess (Chitgopekar 59).
Other Hindu texts such as the Puranas and the Epics are more instrumental in depicting the cult of the Goddess, which thrives among devotees in almost every village, town and city in India (Chitgopekar 4). Puranas such as the Kalika Purana and the Skanda Purana articulate the legends that give Durga dimension and an aura of strength. The Mahabharata is the earliest text that describes Durga as the slayer of Mahisha the buffalo-demon (Chitgopekar 62). Although Valmiki’s original Ramayana depicted Rama worshipping the Sun seeking aid in his quest against Ravana, Krttivasa’s Bengali version describes Rama worshipping Durga in the sun’s stead (Chitgopekar 61), invoking the Great Goddess to aid him in his battle. The most authoritative text on Durga however is the Devi Mahatmya, a fifth or sixth century CE text from the Markandeya Purana. This compilation can be considered to be raising Durga’s position within the Hindu sectarian traditions (Chitgopekar 70). These texts describe the origin of the Great Goddess Durga. This deity is similar to others in the Hindu pantheon with a great variety of physical representations, names and myths, which will be explored here.
Reading the Hindu texts in search of Durga’s stories requires one to have a better knowledge of her names, so she can be recognized. The Goddess’ names vary in origin and meaning and all lend us insight into such aspects as her role to her devotees, how she was created, what exploits she has undertaken, and her physical forms. The name Durga means “she who is difficult to go against” (Chitgopekar 76) [Chitgopekar notes that scholars translate her name differently, but all denote that she is an incredible, almost unimaginable force]. The name Durga can also be attributed to some of her exploits. As Chitgopekar explains, the Skanda Purana indicates that the name of Durga is given to the goddess Parvati, consort of Siva, when she kills the demon Durga. A myth from the Devi Mahatmya, however, states that the Goddess acquires this name when she slays the demon Durgama. Her qualities as a goddess are denoted by her names as well. Durga is often called “Mother of the Universe” or “Universal Mother” (Dutta 17). As Uma, Siva’s consort, she is seen as a protector and a mother figure. The name Kali identifies the opposite, and is revered as a destructive force. Along with others of the same nature, these names indicate that “the Goddess Durga embodies within herself three forces: Creative, Preservative and Destructive. They are her three primal qualities: Sattva, Rajas, and Tamas” (Dutta 18).
One of Durga’s most widely recognized roles is as a great demon killer, and has been given names appropriate to that role as well. She is known as Mahisasuramardini, the buffalo trampler, which Chitgopekar describes as her “most well-known epithet.” (13)Her demon killing forms relate to the names she is given in various myths. Names such as Parvati and Himavati, daughter of the mountain (Chitogopekar 79), introduce certain stories of her creation that are written in the Hindu texts. Alternatively, names such as Dasabhuja, ten armed one (Chitogopekar 79), or Trinayani Durga, three-eyed Durga (Dutta 16), provide us immediately with a mental image of the Goddess. The Goddess’ multiple forces are also revealed in her imagery. At times called Gauri, the fair complexioned one, we think of her more compassionate side, whereas the names Kali and Shyama, the dark complexioned one, denote her terrifying destructive persona. The nomenclature of the Goddess indicates a rich, complex and detailed history. The legends and representations of the Goddess indicated by her names reveal the intensity and importance of her powers; it can be said with certainty that the role of the Goddess in the Hindu pantheon is not one to be overlooked.
Durga’s iconic representations are also important tools for understanding her power. A popular image of Durga is that of her in her ten-armed form killing the buffalo demon Mahisa with one leg over her lion. The Goddess holds weapons from different male gods, linking their power to her. Chitgopekar and Dutta disagree on some of the weapons they list as being in her possession. Dutta’s list includes Siva’s trident, Agni’s dart, Indra’s thunderbolt, Varuna’s conch-shell, Vayu’s bow, Kubera’s club, Yama’s iron rod, Vasuki’s snake and Surya’s shield and sword (Dutta 12). Chitgopekar agrees with Siva, Agni, and Indra’s contributions but adds that Durga held a string of beads and a water pot from Brahma, Visnu’s discus, an axe from Visvakarman, a cup of wine from Kubera [The Great Goddess is depicted as drinking from this cup of wine regularly while in battle with Mahisa. (Chitgopekar 25)] and claims that Varuna’s gift was not a shell but a noose instead. Surya’s gift is also disputed; Chitgopekar asserts that the gift from this Sun God was instead the rays of the sun being on all pores of her skin (Chitgopekar 19). These gifts are an important part of Durga’s story. By endowing her with their emblems the gods of the Hindu tradition show that they place their faith in her to destroy the demon Mahisa who threatened them and whom they could not overcome. Part of Durga’s physical representation is that she is beautiful beyond measure. This beauty is unparalleled (Dutta 12) and attracted some demons to their ultimate death. As discussed previously, the Goddess incarnates in different forms, including Kali, one of her most worshipped shapes. Kali is dark skinned, and has four arms. Two arms hold weapons to “frighten the demons and inflict punishments,” while the other two offer blessings to her followers (Tewari 30). Kali’s tongue is dripping with blood which indicates her role as the goddess of destruction. However, keeping with the theme that the Great Goddess encompasses all creation, preservation and destruction, we are reminded by Kali’s tenderness, portrayed by her feminine form, that “destruction is the beginning of creation” (Tewari 30).
Durga fulfills a great many roles, the three most important being the Creator, the Preserver and the Destroyer of the universe. All other duties she has can be categorized within these three. Vaisno Devi is regarded by some as the ultimate form of this creative Sakti. She is the power that drives the Gods into action (Chitgopekar 49). She is linked to the three great Gods of the Hindu tradition and their great power. Named after the gods with whom she is associated, the Great Goddess can be referred to as the creative force Brahmani, the preserving force Vaisnavi, or the destructive force Rudrani (Dutta 18). Another important role of Durga is that of a protector for her worshippers. In the Skanda Purana the Goddess states that her followers would be spared from the torments of life by invoking or worshipping Her (Dutta 4). One major event dedicated to the worship of the Great Goddess is the Durga Puja. Also known as the Durgotsava or Dasahara, it is celebrated in the Bengal month of Asvina which correlates with the season of autumn. The celebration culminates with the victories of good over evil, principally the triumph of Durga over Mahisa and Rama over Ravana, and signifies the defeat of internal enemies by the devotee (Chitgopekar 102). Durga’s victory against Mahisa has been taken to signify not just the fight between gods and demons or good versus evil, but also the concepts of truth and mental illumination triumphing over falsehood and ignorance (Dutta 22). The Goddess thus has a role in aiding people in finding illumination, a goal in the Hindu tradition. Durga plays many other roles in the lives of her followers including bestowing divine wisdom and spiritual wealth (Dutta 21). Durga has great meaning to people of all castes because her multitude of roles allows her to deal not only with the expansive concepts such as the creation of the universe, but also deals with the internal struggle of all people.
Durga, the Great Goddess is incredibly popular because she has the ultimate power. Her forms and myths denote a deity that can be considered almost unparalleled in strength and thus deserves the respect and worship she is given throughout India. The study of Durga is so rich and detailed however that it requires to be researched with much more depth and dedication to have a complete understanding and respect for the Great Goddess.
Chitgopekar, Nilima (2003) The Book of Durga. New Delhi: Penguin Books India
Tewari, Lt. Col. Naren (1988) The Mother Goddess Vaishno Devi. New Delhi: Lancer International
Dutta, Abhijit (2003) Mother Durga: An Icon of Community & Culture. Calcutta: Readers Service
Kinsley, David (1986) Hindu Goddesses: Visions of Divine Feminine in the Hindu Tradition. Berkeley: University of California Press
Foulston, Lynn (2002) At the Feet of the Goddess: The Divine Feminine in Local Hindu Religion. Portland: Sussex Academic Press
Pintchman, Tracy (1994) The Rise of the Goddess in the Hindu Tradition. Albany: State University of New York Press
Jagadiswarananda, Swami (1953) The Devi-Mahatmya or Sri Durga-Saptasati: (700 mantras on Sri Durga). Madras: Sri Ramakrishna Math
Dilwali, Ashok & Malhotra, Sanjana (2001) Ma Vaishno Devi. New Delhi: K.G.M. International