Durga Puja: Rituals, Identity and Cohesion in Bengali Society

 

Durga Puja, one of the most prominent festivals in South Asia, particularly within Bengali culture across West Bengal, Bangladesh, Assam, Tripura, and Odisha, is far more than a religious observance. It functions as a multifaceted social institution, extending its influence well beyond spiritual devotion into the intricate layers of social life. The festival intertwines ritualistic practices, cultural expression, social solidarity, and economic activity, reflecting a broader sociological framework where tradition, power, and modernity continuously interact. Through the lens of sociology, Durga Puja offers a unique vantage point to understand how communities construct identity, negotiate social norms, and engage in collective cultural expression.

At its core, Durga Puja is rooted in the mythological tale of Goddess Durga’s triumph over the demon Mahishasura. This story is far more than a religious allegory; it symbolises the moral and spiritual order of the universe—the victory of righteousness over evil, the establishment of harmony over chaos, and justice over oppression. Sociologically, this narrative functions as a moral compass, encouraging adherence to social norms and ethical conduct. The figure of Durga, as the embodiment of feminine power, serves simultaneously as a protector, moral arbiter, and a symbolic representation of societal order. In this sense, devotion to Durga is as much an engagement with ethical and cultural values as it is a religious act.

From a functionalist perspective, famously articulated by Émile Durkheim, Durga Puja is a vital mechanism for fostering social cohesion. The festival involves extensive collective activity—from raising funds, constructing pandals, and creating elaborate idols, to performing rituals and organising cultural programs. Each of these steps fosters cooperation and shared responsibility. The experience of participating in these communal activities generates what Durkheim termed 'collective effervescence', a state in which individual emotions merge into a collective rhythm, reinforcing the moral and social fabric of the community. Through these shared rituals, social ideals are reaffirmed, and the festival itself becomes a sacred symbol of unity and societal stability.

A particularly distinctive feature of contemporary Durga Puja is its artistic and cultural expression. Themed pandals, creatively designed mandapas, intricately crafted idols, and associated cultural performances serve as powerful markers of local and collective identity. Themes often carry social, political, or environmental messages, transforming the festival into a living exhibition of art and public discourse.

Pierre Bourdieu’s concept of cultural capital provides insight into the sociological dynamics of these artistic endeavours. Patronage of thematic pandals and creative innovation is not merely a demonstration of religious devotion but also a display of social status, taste, and prestige. The materials used, architectural complexity, and creative craftsmanship symbolise aesthetic knowledge and cultural literacy, reflecting both individual and collective pride. In urban contexts, these expressions frequently mirror the identity and tastes of the middle and upper classes. At the same time, the competitive spirit among puja committees manifests as a 'symbolic struggle' for social recognition and authority. Economically, Durga Puja operates as a vibrant marketplace linking traditional artisanal practices with modern consumption patterns. The festival stimulates commerce across diverse sectors, ranging from small-scale handicrafts to corporate sponsorships and tourism, positioning itself as a critical node between tradition and modern economic structures. Anthony Giddens’ structuration theory helps to explain how the festival both shapes and is shaped by the structural conditions of society. While corporate sponsorship, media coverage, and tourism have transformed the puja into a sophisticated socio-cultural spectacle, traditional rituals continue to thrive, demonstrating a dynamic interplay between tradition and modernity. The economic activity surrounding Durga Puja also strengthens rural-urban linkages, as pottery makers, idol artisans, and craftspersons contribute to the urban festival economy, integrating spiritual devotion with market forces.

Urban Durga Puja serves as a vital marker of social space and neighbourhood identity. Communities invest in decorating their local pandals and celebrating the festival as a source of collective pride, fostering solidarity within their localities. From the standpoint of symbolic interactionism, temporary festival structures act as 'third spaces', bridging gaps between individuals and fostering social connections. These temporary communal hubs symbolically highlight regional identity, social power, and local pride, creating a carnivalesque atmosphere that disrupts the routine monotony of urban life and generates an inclusive, celebratory space for collective engagement.

The festival also offers fertile ground for exploring gender dynamics and power. Durga, as the embodiment of Shakti (divine feminine power), represents protection, justice, and moral authority. Yet, the actual organisation of the festival frequently reveals a gendered duality. While men predominantly handle public leadership, financial oversight, and policy decisions, women are central to domestic rituals, cooking, artistic decoration (such as alapana), and other traditional roles. This duality reflects the tension between symbolic empowerment and social control: women are revered in the symbolic form of the goddess, while conventional gender hierarchies persist in practice. This dual structure demonstrates how cultural rituals can simultaneously challenge and reinforce existing gender norms.

For Bengali diaspora communities worldwide, Durga Puja plays a pivotal role in preserving cultural memory and social cohesion. Benedict Anderson’s concept of 'imagined communities' is evident as these geographically dispersed communities recreate the festival to maintain connections with their cultural homeland. Diaspora pujas function not only as religious observances but also as cultural negotiations, reinforcing linguistic, artistic, and ritual traditions among immigrant populations. These celebrations provide a resilient display of global Bengali identity, sustaining a sense of belonging and continuity across borders.

Despite its unifying role, Durga Puja also mirrors societal stratification and inequality. Marxian perspectives illuminate how the scale, sponsorship, and grandeur of pujas reflect and reinforce class divisions. Extensive, themed pujas sponsored by affluent groups signal economic dominance and social status, while smaller community or local pujas often operate under resource constraints, reflecting structural disparities within society. The festival, therefore, becomes a lens through which social hierarchies, wealth distribution, and power structures are made visible, revealing the complex interplay between religiosity and socio-economic privilege.

In contemporary discussions, the environmental implications of Durga Puja have gained prominence. The widespread use of chemical paints and non-biodegradable materials for idol-making, along with the ritual immersion of idols in rivers, has raised ethical and ecological concerns. These challenges illustrate the tension between cultural tradition and modern environmental consciousness, highlighting the need for moral and sustainable adaptations. Initiatives promoting eco-friendly idols and awareness campaigns reflect the festival’s potential to integrate social rituals with contemporary ecological responsibility, signalling evolving norms and values within society.

Durga Puja transcends the boundaries of a mere religious festival. It is a complex social institution that bridges tradition and modernity, individual identity and collective cohesion, spiritual devotion and economic activity. From a sociological perspective, the festival illuminates how rituals reinforce social norms, construct cultural identity, mediate economic exchange, and reflect social stratification. Durga Puja exemplifies the dynamic interactions between cultural heritage, societal structures, and evolving modern influences. It serves as a compelling illustration of how collective rituals are both shaped by and shape the social, economic, and cultural life of contemporary South Asian society.

By observing Durga Puja through sociological lenses, one gains insight into the intricate processes through which communities negotiate identity, cohesion, hierarchy, and modernity, revealing the profound social significance embedded in what might appear to outsiders as merely a religious celebration. The festival’s enduring vitality demonstrates the adaptability of cultural practices, the resilience of communal bonds, and the centrality of ritual in the ongoing construction of social life.

 
Dr. Matiur Rahman is a researcher
 and a development worker.