Navaratri is celebrated in different ways throughout India. Certain people revere different aspects of Durga and some people fast while others feast. and the Sharada Navaratri culminates in
Durga Puja and
Vijayadashami. of
pandals (temporary stages) that are built in community squares, roadside shrines, and large Durga temples in West Bengal, Odisha, Jharkhand, Bihar, eastern Nepal, Assam, Tripura, and nearby regions. It is also observed by some Shakta Hindus as a private, home-based festival. Durga Puja festival marks the victory of the goddess Durga in the battle against the shape-shifting, deceptive, and powerful buffalo demon
Mahishasura. The festival begins with
Mahalaya, a day where Bengali, Assamese, and Odia Hindus remember the loved ones who have died, as well the advent of the warrior goddess Durga. The next significant day of Durga Puja is called Shashthi, on which the local community welcomes the goddess Durga and festive celebrations are inaugurated. On the seventh (Saptami), eighth (Ashtami), and ninth (Navami) day, Durga, along with Lakshmi, Saraswati, Ganesha, and Kartikeya, are revered. These days mark the main
Puja (worship) which is performed by the recitation of scriptures, legends of Durga in the
Devi Mahatmya, and social visits by families to temples and
pandals. The clay idols of Durga, Lakshmi, Saraswati, Ganesha, and Kartikeya are worked on and sculpted for months before Durga Puja by artisans. The process of making the idols begins with a puja to Ganesha and invocations of divinities into the bamboo frames of the idols. Clay or alluvial soil is usually chosen to sculpt the idols for Durga Puja. In some regions of Bengal, it is customary to obtain the clay from
nishiddho pallis or “forbidden territories” such as brothels or red light areas due to the belief that Durga resides everywhere in the form of creative energy. After the idols are completed and painted, the artisans add a layer of
jute over the idols to prevent any cracks or damage.
Kumortuli, a traditional potters’ quarter in
Kolkata is renowned for its community of clay sculptors who craft traditional Bengali idols for festivals like Durga Puja and
Saraswati Puja. The sixth day of Navaratri or Shashthi is celebrated by Bengali, Assamese, and Odia Hindus as
Bilva Nimantran, the day of inviting and awakening the goddess Durga. The
Akal Bodhan ritual done on this day consists of installing a kalash filled with water at the base of a Bilva tree. Durga is then invoked in a rite called the
Avahana. After the Avahana rite, Durga is symbolically invited and invoked to dwell in the
Bilva tree in a rite called the
Adhivas. Then, an invitation is symbolically given to Durga with mantras and offerings to accept the
Nabapatrika Puja and dwell into the consecrated idol during the
Pranapratishta rite on the next day. On the seventh day of Navaratri or Maha Saptami, Durga is invoked into nine plants during a rite called the Nabapatrika Puja which is also known as the
Kolabou Puja. The rite involves the bundling of nine different plants and then ceremonially washed in a river or temple tank. The bundle is then adorned with a red or orange cloth and then installed on the right side of Durga’s idol. After the instalment of the bundle of nine plants and a mirror near the idol of Durga, the Pranapratishta rite begins. During the Pranapratishta rite, Durga is invoked to reside in the consecrated idol. After these rituals on Maha Saptami, the lavish festivities and rituals of Durga Puja begin. The festival of Durga Puja is always celebrated with traditional music and dance. The dhak, a large drum instrument from Bengal is played during the aarati during Durga Puja. The
kansor ghanta, a brass plate is usually banged with a hammer to accompany the dhak during the aarati. During the playing of the dhak drum, Bengali devotees perform a dance called the
Dhunuchi Nritya in which a
dhunachi or incense burner is balanced in the hands. Devotees wear traditional Bengali clothes during Durga Puja which consists of the white
garad or
tant sarees with a red border for women and the
kurta and
dhoti for men. The eighth day or Durga Ashtami is a highly important day of rituals and rites during Durga Puja. On Durga Ashtami, nine pots are installed near the altar and are invoked as the nine forms of Durga. Nine young girls wearing red with a
papier-mache crown are worshipped as the nine forms of Durga in a rite called
Kumari Puja on this day. The devotees or hosts of the puja wash the feet of the girls, adorn the girls with red
alta and sindoor, gift one flower from the Durga idol to the girls each, and worship the girls with aarati, dhoop, and mantras. After the puja, the girls are gifted new clothes and jewellery by the hosts and then fed. Durga Ashtami is also the day when
Sandhi Puja is conducted at the most auspicious hour of Durga Puja. The
muhurta of Sandhi Puja is regarded to be the time when
Chamunda killed the demons
Chanda and
Munda thus making it a period of extreme strength and energy according to
Hindu astrology. During Sandhi Puja, the devotees or hosts light 108 diyas or lamps, offer 108 lotus flowers, 108 garlands of bael leaves, a new saree, new jewellery, and new fruits to the goddess Durga. The puja is performed with the accompaniment of the dhak, shankha, kansor ghanta, and
ululudhvani. Ululudhvani is the Bengali, Assamese, and Odia tradition of women ululating; making a long, wavering high-pitched sound with the rapid movement of their tongue. Holy water is then sprinkled on the hosts and attendees by the priests, a
Maha Aarati is performed, and the puja is culminated with a homa. Animal sacrifices in a rite called
Durga Balidan were prominent during Sandhi Puja in earlier times but has largely been replaced by symbolic sacrifices of pumpkins and other fruits and vegetables in the modern times. The ninth day or Maha Navami, a homa is performed while all 700 verses from the Durga Saptashati are read. An elaborate homa is conducted and offerings of ghee, coconut, sesame seeds, grains, and herbs are poured into the fire. This rite is called the
Chandi Homa. A fire ritual performed by Bengali Hindu women on Maha Navami called
Dhuno Porano involves a woman sitting cross-legged in a wet cotton sari. A clay vessel on top of a wet lump of mud is placed in each hand and on top of the woman’s head. The three clay vessels contain embers which are lit after being placed on the woman. Flames burst from the three clay vessels while the woman must sit calmly and meditate upon the goddess. The ritual is performed in front of the Durga idol at a pandal or temple and it symbolizes purification and dedication through strong devotion. On the tenth day, also known as
Vijayadashami, a great procession is held where clay statues of Durga are ceremoniously walked to a river or ocean coast for a solemn goodbye. Many mark their faces with vermilion (
sindooram) or dress in red clothes. It is an emotional day for some devotees, and the congregation sings emotional goodbye songs. After the procession and immersion of the idols in water, Hindus distribute sweets, gifts, and visit their friends and family members.
Sindur khela is an important tradition for women on the day of Vijayadashami. After the final puja of Vijayadashami, married Bengali women anoint the idol of Durga with
sindoor. They then apply sindoor to the
shankha (conch shell),
pala (coral), and
noa (iron) bangles. The tradition concludes with the married women smearing each other’s faces with sindoor and exchanging sweets. This tradition of merrymaking amongst women is regarded as an important celebration of womanhood during the final day of Durga Puja. Durga Puja is celebrated commonly by both Bangladesh's Bengali and non-Bengali Hindu communities. Many
Bengali Muslims also take part in the festivities. In Dhaka, the
Dhakeshwari Temple puja attracts visitors and devotees.
Bihar, Jharkhand, and Purvanchal In the greater
Bihari cultural region of
Bihar,
Jharkhand,
Purvanchal, and the province of
Madhesh in Nepal, Navaratri or Durga Puja begins with the ritual of
Kalash Yatra. The main tradition in Bihar, Jharkhand, and Purvanchal on the first day of Navaratri is the Kalash Yatra in which devotees travel to a temple or sacred river or water body to collect water in a
kalash. Usually one woman from each family carries the kalash on her head or sometimes, entire villages or colonies travel to collect the water together for a communal Durga Puja. When a kalash is filled with water, it is brought back either to the household shrine or temple by men and women carrying it on their head. On a banana leaf, rice and grains are placed to establish the spot where the kalash will be placed. Over the banana leaf and grains, a large mound of soil and sand is made and then barley seeds are sown in it after being soaked in water. Betel nuts and other sacred offerings are placed into the filled kalash and it is topped with mango leaves and a
diya lamp or coconut. The kalash is placed on the center of the soil mound. The kalash is then anointed with
kumkum and
vermillion. An
akhand jyot, a lamp to last all nine days is then lit. The kalash is then worshipped for nine days. A cow dung cake is used each of the nine days to perform a homa or havan. The worship of Durga in the greater Bihar region during Navaratri involves the offering of flowers such as the
aparajita and
harsingar. The worship of Shiva is also prominent during Navaratri in the greater Bihar region. In
Mithila and other regions of Bihar, very small lingams are made from mud and are worshipped in a rite known as
Parthiva Shivalinga Puja. According to the Shiva Purana, the mud lingams or
Parthiva Shivalingas should be made from the soil or mud from a holy river or pond. In the Mithila region of Bihar and Madhesh and also some other regions of Bihar and Jharkhand, women perform a tradition called
Jhijhiya from the day of
Kalash Sthapana to the day of Dussehra. The tradition of Jhijhiya involves the singing of traditional Jhijhiya songs in
Maithili or other
Bihari languages and performing the Jhijhiya dance. The first song sung during the tradition are devotional songs dedicated to the mother goddess and the second song sung is for protection against witches and black magic. Folk instruments such as the dhol and manjira to accompany the singing. The Jhijhiya dance is performed by placing an earthen pitcher with multiple holes on their head and dancing in a circle and twirling while singing the Jhijhiya songs. A lamp is lit inside the earthen pitcher causing the pitcher to shimmer as the light escapes through its many holes. A common folk belief states that if a witch is successful in counting all of the holes in the pitcher, the dancer will immediately die. Participating women sometimes go house to house to perform the dance and collect grains and offerings for the day of Dussehra. in the city of
Janakpurdham located in the Mithila region of Nepal. The Jhijhiya tradition has no documented origin but a commonly told folk story from Mithila links the folk dance and song to witches. According to the Maithili folk story, a queen fell in love with the nephew of her husband. When the nephew rejected the queen’s advances, the queen began to fake an illness and tricked her husband into believing that she needed the nephew’s blood to survive. The king ordered his soldiers to kill his nephew but when his nephew was captured, the soldiers couldn’t bring themselves to kill him so they let the nephew go free in the forest. One day, the king and queen were passing through the forest when one of the royal palanquin carriers died. The king hired his nephew unknowingly as his new palanquin carrier. When the king’s nephew began to sing a song that only him and the king knew, the king recognized him immediately. The king and queen both felt guilty and convinced the nephew to return back to the capital with them. A powerful witch from the forest who had adopted the nephew became angry that he was leaving her so she began to use her magic on the nephew to kill him. When the queen found out about the witch’s attacks, she fought the witch in a battle using her own Tantric powers. After the queen defeated the witch, the nephew returned to the capital and was crowned king and the former queen was ordered to perform a yearly Tantric rituals for the new king’s protection. The Jhijhiya tradition is said to have been the yearly ritual performed for the king’s protection according to the folk beliefs of Mithila. The day of Dussehra in Bihar, Jharkhand, Purvanchal, and Madhesh is celebrated as a highly auspicious day by Hindus in these regions. In these regions, it is considered inauspicious to travel during Navaratri after the Kalash Sthapana until the morning puja on Dussehra. Thus in the greater Bihar region, Dussehra is also known as Jatra which means “journey.” After households perform the morning puja, the barley grown is cut and bundled and tied into the hair of men and boys. These bundles of barley are called
Jayanti. After tying Jayanti, the men and boys perform
pranam and touch the feet of their elders for blessings. During Durga Puja, Durga is worshipped alongside Lakshmi, Saraswati, Kartikeya, and Ganesha. The Durga Puja traditions of Bilva Nimantran and Akal Bodhan on Shashthi, the Nabapatrika Puja and Pranapratishta Puja on Saptami, the Kumari Puja and Sandhi Puja on Ashtami, the Chandi Homa and Bhog on Navami, and the Durga Visarjan of Dashami are all performed in Bihar similarly but less commonly as Bengal, Assam, and Odisha. In the greater Bihari cultural region, Durga Puja begins on Saptami. The sixth and seventh days of Navaratri or Shashthi and Saptami are celebrated with the
Belnati Beltodi ritual. In the evening of Shasthi, devotees gather at
Indian bael trees to worship the trees. The trees are worshipped in a traditional puja conducted by priests and accompanied by the playing of drums, bells, and conches. The roots of the tree are washed with holy water and cow dung. Grains, flowers, fruits, and a yellow cloth are then offered to the tree. After climbing a ladder, the priest identifies a pair of twin fruits from the tree and binds them together with a red cloth for the night. This ritual is known as
Belnati and symbolizes inviting the bel tree for Durga Puja. On the morning of Saptami, devotees gather at the trees again in processions of music and chants. A decorated palanquin is carried by the devotees to the tree of their chosen twin fruits. The twin fruits are plucked from the tree and placed in the decorated palanquin which is carried in a procession to the site where Durga Puja will be performed. This ritual is called
Beltodi. According to local belief in Mithila, the goddess is present in the twin bel fruits and is accompanied by ghosts, demons, and spirits in the procession to the Durga Puja pandal or temple. Offerings of food are prepared and offered for the accompanying spirits and they are ritually worshipped before the palanquin reaches the Durga Puja site. When the twin bel fruits are brought to the pandal or temple, the fruits are ritually worshipped and the eyes of the Durga idol are finally opened. After this ritual of Belnati Beltodi, Durga Puja begins in Bihar. In other parts like
Sitamarhi and the Mithila region of Bihar and Nepal, the spring Navaratri attracts a large
Rama Navami fair, which marks the birth of Lord Rama. It is the largest cattle trading fair and attracts a large handicraft market in pottery, kitchen, and housewares, as well as traditional clothing. Festive performance arts and celebrations are held at the local Hindu temple dedicated to Sita, Hanuman, Durga, and Ganesha.
Uttar Pradesh In the
Braj,
Doab,
Kannauj, and
Awadh regions of Uttar Pradesh, Navaratri is marked by the numerous
Ramlila events, where episodes from the story of
Rama and
Ravana are enacted by teams of artists in rural and urban centers, inside temples, or in temporarily constructed stages. This Hindu tradition of festive performance arts was inscribed by
UNESCO as one of the "Intangible Cultural Heritage of Humanity" in 2008. The festivities, states UNESCO, include songs, narration, recital and dialogue based on the Hindu text
Ramcharitmanas by
Tulsidas. Though Ramlila is most common and a significant component of the culture and identity in
western Uttar Pradesh and Awadh, it is also performed in other regions also such as Purvanchal, Bihar, Madhya Pradesh, and Haryana. It is particularly notable in the historically important Hindu cities of
Ayodhya,
Varanasi,
Vrindavan,
Almora,
Satna and
Madhubani – cities in
Uttar Pradesh,
Uttarakhand,
Bihar, and
Madhya Pradesh.
Punjab and Haryana In
Punjab,
Haryana, and also
Jammu, Navaratri is known as
Naurate and celebrated with the worship of
Sanjhi Mata. On the first day of Navaratri, barley is sowed in two clay pots. Using mud, clay, or cow dung, Punjabi and Haryanvi women make an earthen image of Goddess Parvati along with stars, the sun, the moon, banyan trees, and other religious figures. The earthen image of Goddess Parvati is called Sanjhi Mata and it is plastered to a wall of the courtyard usually. Sanjhi Mata represents the form of Goddess Parvati leaving
Kailash to spend nine days at her maternal home. From the first day of Navaratri to the ninth, women and girls gather at the earthen images and sing traditional songs dedicated to Sanjhi Mata and dance in the evenings. In Punjab, women sing traditional couplets or
boliyan and perform the
giddha dance. The earthen image of Sanjhi Mata is worshipped for nine days and then on Dussehra, it is taken down and placed in a large vessel with a diya. Sisters bundle the barley shoots and place them over the ears of their brothers. The remaining barley is placed in the vessel and the vessel is taken to a local water body to be immersed. in ghee and adding sugar. It is eaten as prasad by Punjabi Hindus on the day of Durga Ashtami. In Punjab, the eighth day of Navaratri or Ashtami is celebrated with the
kanjakan rite, known as
Kanya Puja elsewhere.
Kanjak refers to a young girl who is invited to a devotee’s home and fed a prasad of
puri, kala
chana, and
sooji halwa or
karah parshad. Usually, nine girls are invited, representing the nine forms of Durga. The hosts tie a sacred red thread around the wrists of the girls and gift them red bangles, a red
bindi, and a red veil with gold sequin which is called a
mata di chunni. The hosts usually keep a fast on this day and break their fast after the invited girls are fed and given gifts. . A popular tradition amongst Punjabi Hindus during Navaratri is the observance of a
jagrata, a devotional nightly vigil dedicated to Durga who is commonly known as
Sheranwali Mata in Punjab and often depicted as accompanied by
Bajrang Bali and
Bhairo Baba. Jagratas consist of the singing of traditional Punjabi devotional songs such as
bhajans and
bhents along with dancing. The jagrata begins with the host tying a long sacred red thread to a spoon or stick. With the spoon in one hand, the host lights the suspended end of the red thread and then hovers the spoon above an
akhand jyot or lamp so that the burning red thread lights up the wick of the akhand jyot.
Kathas or devotional stories are often told during the jagrata. The two popular kathas told during jagratas are “
Bhole da Vyah,” the legend of Shiva and Parvati’s marriage and “
Tara Rani di Katha,” a Punjabi folk story about two devout women: Tara, a queen, and Rukman, an outcaste who performed a jagrata for the goddess. Jagratas traditionally conclude at sunrise with the Punjabi aarati “Bhor Bhai Din Chad Geya Meri Ambe” (“Morning has come, the day has dawned, O my Mother Ambe”). Due to the significant presence of
Punjabi Hindus in
Delhi and
Mumbai, the traditions of kanjakan and jagrata have been adopted by people belonging to other North Indian cultures, much like how
Karwa Chauth has widely spread beyond Punjab.
Kashmir , an ancient center of goddess worship in Kashmir and an important Shakti Pitha dedicated to Saraswati. Historically, Navaratri was an important time for Kashmiri Hindus to make pilgrimage to this temple. The last pilgrimage to Sharada Peeth took place in 1947, just before the
partition of India, after which access to the temple was ceased. Amongst
Kashmiri Hindu households in both the diaspora and the few remaining in
Kashmir, the autumnal Navaratri is commenced with the sowing of barley seeds in a clay pot in a rite known as
Krech Puja. For nine days, Kashmiri Hindus water the barley, fast, and recite the
Bhavani Sahasranama, a
stotra dedicated to Shakti that was composed in Kashmir. The fourth day of Navaratri initially was observed as a day dedicated to married women along with the worship of
Indra’s horse,
Uchchaihshravas. The sixth day of Navaratri is observed as
Kumar Sheyam or
Kumar Shishti by Kashmiri Hindus in which devotees fast for the entire day until they visit a temple or worship Kartikeya at home during the evening. In the evening, devotees light six lamps dedicated to Kartikeya. The eighth day of Ashtami is known as
Durga Atham which is observed with fasting and the worship of
Bhadrakali. Kashmiri Hindus celebrate the eighth day with a devotional nightly vigil called a
jagarna that involves singing and dancing. A large fair is held at the
Kheer Bhawani Temple on the eighth day and at
Hari Parbat on the ninth day. On the ninth day, Durga is worshipped along with shopkeepers and merchants worshipping their books and artisans worshipping their tools. The tenth day is known as
Dusheera and the pots of barley are immersed in rivers on this day.
Khichdi is commonly offered as prasad and eaten during this time by Kashmiri Hindus.
Gujarat Navaratri in Gujarat is one of the state's main festivals. The traditional celebrations include fasting for a day, or partially fasting each of the nine days by not eating grains or just taking liquid foods, in remembrance of one of nine aspects of Shakti goddess. The prayers are dedicated to a symbolic clay pot called
garbo, as a remembrance of the womb of the family and universe. The garbo pot is perforated with numerous holes and a diya or lamp is lit inside. The pot is used as a lantern during the late nights of garba dancing. When the lamp inside the garbo pot is lit, the light escapes through the many holes and scatters like beams, this is believed to represent the many souls coming from the one
Atman (soul, self). Post dancing, the group and the audience socializes and feasts together. Regionally, the same thematic celebration of community songs, music, and dances on Navaratri is called
garba. The partners move forward and strike their dandiyas together which is usually done in a coordinated rhythmic sequence which is usually an eight-beat pattern called a
keherwa. The dance involves stepping, striking, and twirling which must be done in coordination with the rhythm. The dance becomes more intense and fast as the beat becomes more intense and fast. When the eight-beat keherwa ends, partners move on to the next partner and continue moving down the lines. Gujarati garba songs have a deeply devotional and cultural character rooted in the folk culture and Hindu traditions of Gujarat. The central theme of many garba songs is the worship of Shakti and her many forms such as Durga, Chamunda, Kali, and Parvati. Gujarati songs commonly refer to Durga as “Amba” or “Jagdamba.” The lyrics often praise the goddess as a mother and many retell episodes from Hindu Puranas such as the battle between Durga and Mahishasura. A common theme of many garba songs is
Radha and
Krishna. The songs may emphasize Radha’s longing for Krishna or jealousy, contain retellings of Krishna dancing and performing raas with Radha and the
Gopis, and depict Krishna as the bringer of bliss with his
flute. Garba songs commonly refer to the topography and environment of Gujarat, referencing specific places such as temples or towns, rivers, villages, and regional traditions. Garba is a highly social festival, thus garba songs are usually uplifting and energetic. The sanedo form of garba songs include social and playful commentary. In the Gujarati and Indian diaspora and urban settings in India, garba music may be mixed with Bollywood music. Gujaratis dress in vibrant clothes during Navaratri. Traditionally during garba, Gujaratis men wore a
kediyu, a garment that was pleated at the chest and reached to the waist. The kediyu was worn with a
chorno, a wide and loose version of pantaloons. The men would also wear a traditional Gujarati turban called a
phento. In the modern day, men mostly wear a
churidar and
kurta. Women traditionally wear a
chaniya choli during garba. It consists of a long flared skirt called a
chaniya and a short fitted blouse which is the
choli. The outfit is always paired with a matching veil or scarf called the
odhni or
chunari. The outfit is often heavily decorated with mirrorwork and intricate Gujarati embroidery. Women usually wear traditional jewellery such as
jhumkas during garba also. The worship of folk goddesses is very prevalent during Navaratri in Gujarat. Fairs and garba dances are held at the shrines and temples of the folk goddesses. These folk goddesses who are honoured during Navaratri include
Meladi,
Khodiyar,
Bahuchara,
Momai,
Vahanvati,
Shitala,
Vihat,
Randal,
Jogani,
Umiya,
Mogal,
Modheswari,
Brahmani,
Sadhi, and
Hadkai. Many Gujarati Hindus make pilgrimage to the temples of their
kuladevi during Navaratri. The kuladevi is regarded as the protector of the clan and family and is usually a tutelary of folk goddess representing a form of Shakti. Due to the significant presence of Gujaratis in Mumbai and in the
Western World, and the representation of garba in Indian television and Bollywood, the tradition of garba has expanded beyond Gujarat. In large Indian cities outside of Gujarat such as
Mumbai,
Delhi,
Hyderabad,
Bengaluru,
Kolkata,
Lucknow,
Chennai,
Chandigarh, and
Jaipur, numerous organizations, educational institutions, temples, and community groups organize large and festive garba and dandiya events. Garba has gained prevalence amongst non-Gujarati Hindus in the West such as
Indian Americans of Telugu, Tamil, Malayali, and Marathi descent, along with
Indo Canadians and
British Indians of Punjabi and Haryanvi descent. The performance of garba and dandiya during Navaratri has transcended from being just a Gujarati folk tradition to becoming a pan-Indian and national cultural phenomenon.
Maharashtra Navaratri celebrations vary across
Maharashtra and the specific rites differ between regions, even if they are called the same and dedicated to the same deity. The most common celebration begins on the first day of Navaratri with Ghatasthapana, which literally means "mounting of a jar". On this day, rural households mount a
copper or
brass jar, filled with
water, upon a small heap of
rice kept on a wooden stool (
pat). The
jar is typically placed other agriculture symbols such as a
turmeric root, leaves of a
mango tree,
coconut, and major staple
grains (usually eight varieties). A
lamp is lighted symbolising
knowledge and household prosperity, and kept alight through the nine nights of Navaratri. The family worships the pot for nine days by offering rituals and a garland of flowers, leaves, fruits, dry fruits, etc. with a
naivedya, and water is offered in order to get the seeds sprouted. Some families also celebrate
Kali Puja on days 1 and 2,
Lakshmi Puja on days 3, 4, 5 and
Saraswati Puja on days 6, 7, 8, 9 along with Ghatasthapana. On the eighth day, a "Yajna" or "Hom" is performed in the name of Goddess Durga. On the ninth day, the Ghat puja is performed and the Ghat is dismantled after taking off the sprouted leaves of the grains. During Navaratri, the tradition of
Bhondla is practiced by Marathi Hindu women and girls. The term "Bhondla" originates from the Marathi terms for "to ask" or "to chant," which symbolizes how the songs of Bhondla are sung. Bhondla is also known as
hadga. Bhondla is a traditional Marathi folk practice in which an image of an elephant is drawn on a wooden slate and decorated with flowers and then danced around by women and girls. The elephant image is usually made from chalk or rangoli powders, but it can also be made with lentils or grains. In some regions of Maharashtra, a statue of an elephant is used or two elephant statues are hung on walls facing each other with a garland held up by their trunks. Traditional Marathi songs are sung during the Bhondla tradition and these songs often have mischievous or festive themes. The songs range from topics such as everyday activities to family and in-laws and to agriculture and devotion. The songs are passed down matrilineally generation by generation. The first song sung is generally a devotional hymn dedicated to Ganesha. Many Bhondla songs sung by married women express discontent with family, in-laws, and husbands and use terms such as "
dwad" meaning "discontent" in Marathi. The dance consists of women and girls holding hands together while circumambulating around the elephant image. Following the rhythm of the songs, the participating women and girls will synchronize the dance with the beat through clapping and moving back and forth. At the end of Bhondla, a snack or sweet offered as prasad is consumed by the participants which is called
khirapat. Usually, a guessing game is played at the end of Bhondla for the participants to guess what dish the khirapat is. Participating women usually wear a sari while younger girls wear a
parkar polka, a long skirt and long blouse similar to the
pattu pavadai of Tamils and the
langa voni of Telugus. In the
Vidarbha region of Maharashtra, the tradition of
Bhulabai is performed by married women. In this tradition, idols of Shiva and Parvati are danced around instead of an elephant image. According to the folk story associated with this tradition, Shiva once left Kailash after becoming upset when he lost to a game of dice to Parvati. As Shiva roamed the forest, Parvati took the form of a tribal woman and tried to appease Shiva through dance. The Marathi tradition of
Gondhal is very common during Navaratri.
Gondhalis are a community of musicians originating from Maharashtra and their historical occupation was to sing songs called Gondhal in devotion to goddesses and preaching. The Gondhal use folk drums called
sambal which they tie to their necks and let rest on their thighs. Four men are needed to perform the Gondhal; one dancer wearing a long cowrie shell necklace with chimes on his ankles, two sambal drummers, and one who holds a torch called the
dioti. The origin story of Gondhal comes from a text called the
Renuka Mahatmya. The story links the tradition to
Parashurama killing a demon and binding the sinews from the demon's head through the openings in the demon's crown to create a new instrument. The songs sung by the Gondhalis usually honour local Marathi goddesses such as
Renuka,
Tulja Bhavani,
Saptashrungi, and
Ambabai. During Navaratri, the Gondhalis are invited by devotees to their houses to perform the Gondhal and sing songs that honour Durga's triumph over Mahishasura. The Goddess Lalita is worshiped on the fifth day of the festival. On the ninth day of the festival, men participate in worshiping all kinds of tools, weapons, vehicles, and productive instruments.
Goa and the Konkan Amongst the
Konkani Hindus of
Goa and the
Konkan, the festival of autumnal Navaratri begins with the day of
Padvo. On the day of Padvo, the Sri Bhaan or Tandla Madki is emptied of the previous year’s rice and washed and cleaned. Then, the Tandla Madki is redecorated with mango leaves, sandalwood paste, and kumkum. At an auspicious time, the Tandla Madki is refilled with new raw rice which is kept until the next year’s Navaratri. The Tandla Madki is topped with a lid, a coconut, and a betel nut with leaves. Paddy is hung on the doors of Konkani households on Padvo to welcome prosperity and the recent harvest. The Konkani dish of
udida ghari, black gram dumplings is prepared and offered as prasad on Ashtami. A Konkani dish called
chonya upkari which is a black chickpeas vegetable stir fry or dry curry is prepared and offered as prasad on Navami. During Navaratri, Konkani Hindus perform Kanya Puja and
Suvasini Puja. During the Kanya Puja ritual, young girls are invited by families to their home to be worshipped as representations of the goddess Durga. The eldest married woman of the family conducts this ritual. The girls are anointed with kumkum and sandalwood paste and given gifts such as bangles, clothes, and
dakshina. The girls are fed a sacred meal without rice along with sweets. Suvasini Puja is a similar tradition but dedicated to married women. Married women known as
sumangalis or
suvasinis are invited to homes and worshipped as representations of the goddess Durga. The women are offered meals with rice and given a coconut, plantains, betel leaves, an
areca nut, flowers, and dakshina. The eldest married woman of the family gifts the suvasinis a new sari. The day of Navami is celebrated with families placing their daily implements such as work tools, cooking utensils, musical instruments, school books, ledgers, and academic materials at the altar to not be used until after Ayudha Puja on Vijaya Dashami. On the day of Vijaya Dashami, Ayudha Puja dedicated to the implements is performed and the implements are blessed for resumption of use. Young Konkani children are also initiated into learning on this day in a rite known as
Aksharabhyas in which they write their first word using their finger in a plate of rice. The new rice from the harvest brought home during Navaratri is used to prepare a special meal on Vijaya Dashami called
Nave Jevan. Branches and leaves of the
Shami tree are also exchanged on this day. The last night of the Goa Navaratri festival is a major celebration called the
makhar arti.
Karnataka Hindu temple, Karnataka In
Karnataka, Navaratri is observed at home and by lighting up Hindu temples, cultural sites, and many regal processions. It is locally called
Dasara and it is the state festival (
Naadahabba) of Karnataka. Of the many celebrations, the
Mysuru Dasara is a major one and is popular for its festivities. The contemporary
Dasara festivities at
Mysore are credited to the efforts of King
Raja Wodeyar I in 1610. On the ninth day of
Dasara, called
Mahanavami, the royal sword is worshipped and is taken on a procession of decorated elephants and horses. Also,
Ayudha Puja is dedicated to
Saraswati, in which military personnel upkeep their weapons and families upkeep their tools of livelihood, both offering a prayer to Saraswati, as well as Parvati and Lakshmi. The day after Navaratri, on
Vijayadashami, the traditional
Dasara procession is held on the streets of Mysore. An image of the Goddess Chamundeshwari is placed on a golden saddle (
hauda) on the back of a decorated elephant and taken on a procession, accompanied by tableaux, dance groups, music bands, decorated elephants, horses, and camels. Another Navaratri tradition in Karnataka has been decorating a part of one's home with art dolls called
Gombe or
Bombe, similar to
Golu dolls of Tamil Nadu. An art-themed
Gaarudi Gombe, featuring folk dances that incorporate these dolls, is also a part of the celebration.
Kerala In
Kerala, the last days of Sharada Navaratri or Ashtami, Navami, and
Vijayadashami are observed as significant days of worship and celebrated as Saraswati Puja in which books, tools, instruments, and weapons are worshipped. On the day of Durga Ashtami, a ceremony called
Puja Vaipu is performed in which books, tools, instruments, and weapons are placed by
Malayali Hindus at the altars in their own houses, traditional nursery schools, or in temples. The books, tools, instruments, and weapons are then worshipped in a puja dedicated to Saraswati. Fruits, rice, roasted paddy, and jaggery are offered to Saraswati during the puja on Ashtami. On the day of Maha Navami, the books, tools, instruments, and weapons are again worshipped in a puja dedicated to Saraswati. Maha Navami is a day when Malayali Hindus visit temples dedicated to goddesses such as
Saraswati,
Bhadrakali,
Bhagavati,
Lakshmi, and
Parvati. Vidyarambham is the main rite during Vijayadashami in Kerala and consists of the imitation of learning. The Vidyarambham day tradition starts with the baby or child sitting on the lap of an elderly person such as the grandfather, near images of Saraswati and Ganesha. The elder writes a letter and the child writes the same with his or her index finger. This ritual is performed using a platter of rice or sand in which the elder and child write the letters and words using their fingers. After the Ayudha Puja, Saraswati Puja, and Vidyarambham of Vijayadashami, the books, tools, instruments, and weapons are blessed and taken out of the altar and returned to the owners in a ceremony called
Puja Eduppu. The ceremonial return of the implements to the owners symbolizes the resumption of their studies or occupational work.
Tamil Nadu Navaratri has been a historic tradition within Tamil Nadu, with Lakshmi, Saraswati, and Durga goddesses as the focus. The festivities begin with
Vedic chants inaugurating the dances and other ceremonies. Other Tamil Hindu temples, such as those associated with
Sri Vaishnavism, also celebrate the Navaratri festivities. called
Navaratri Mandapam. It features goddess Saraswati and large dance hall. Another notable Tamil tradition is a celebration of the festival with
Golu dolls (also spelled as
Gollu). These include gods, goddesses, animals, birds and rural life all in a miniature design. People set up their own creative themes in their homes, called
Kolu, friends and families invite each other to visit their homes to view Kolu displays, then exchange gifts and sweets. This tradition is also found in other parts of South India such as Andhra Pradesh where it called
Bommala Koluvu, and Karnataka where it is called
Gombe Habba or
Gombe totti. Evidence of
Gombe totti tradition as a Hindu celebration of the artisan arts goes back to at least the 14th-century
Vijayanagara Empire. In the evening of
Vijayadashami, any one doll from the "Kolu" is symbolically put to sleep and the Kalasa is moved a bit towards the North to mark the end of that year's Navaratri Kolu. The family offers a prayer of thanks, and wraps up the display. ,
Tamil Nadu. In temples of Tamil Nadu, Navaratri is celebrated for Durga's dwelling in each temple. The temples are decorated, ceremonial lamps are lit, and Vedic chantings are performed. Priests and visitors of some of these temples wear a special yellow coloured 'promise of protection' thread on their wrists, called
kappu (Tamil) or
raksha bandhana (Sanskrit). It is believed to symbolize a vow to the goddess and protection from the goddess against evil.
Telangana and Andhra Pradesh In
Telangana and
Andhra Pradesh, Navaratri is celebrated similarly as in the rest of India and it ends with Dasara. During the Navaratri nights, a notable tradition involves Telugu Hindu women who create
Bathukamma for Navaratri goddesses. It is an artistic flower decorations driven event, particularly using
marigolds, which revere three different aspects Devi, called
Tridevi. In 2016, 9,292 women simultaneously participated to create a 20 feet high flower arrangements, one of the world's largest festive flower arrangement.
Bathukamma celebrations will be started with the Mahalaya Amavasya (Pitru Amavasya), a day before Navaratri starts. The main deity of worship is goddess Gowri, a form of goddess
Durga, who is symbolized with an idol made from turmeric powder and is placed on a floral arrangement called
bathukamma. The festival will go for nine nights with women whirling around the bathukamma clapping their hands or sticks along with the recitation of the
Ramayana, stories of
Shiva, Gowri,
Ganga, and common day-to-day life of women in the form of rhythmic songs. Every night, bathukamma is immersed in nearby water resources and a new bathukamma is made next day. This nine nights festival ends with
Durgashtami, when Durga is believed to be worshiped in the form of Maha Gowri. Like elsewhere in India,
Ayudha Puja is observed by Telugu Hindus where weapons are maintained, decorated, and worshiped. Tradesmen and farmers similarly clean up, decorate, and worship their own equipment of the trade. On the 10th day,
Dussehra (
Vijayadashami), grand feasts are arranged with family members and friends.
Nepal In Nepal, Navaratri is celebrated as
Dashain or Nauratha. On the first day, barley which is known as
jamara in Nepali is sowed in a pot and kept in a dark room. The nine days of the festival are observed with vibrant processions and fairs throughout Nepal. Devi temples and Shakti pithas in Nepal experience a high increase in footfall during this time. On the ninth day or Maha Navami, animal sacrifices are performed by trade workers such as artisans, carpenters, mechanics, and craftsmen who dedicate the sacrifices to Durga. Maha Navami is also the only day when the renown
Taleju Temple in
Kathmandu is opened to the general public. The tenth day or Bijaya Dashami is a day of elders blessing the youth of the family. A mixture of rice, yogurt, and vermillion called
tika is prepared and anointed on the forehead of younger relatives by the elders on Bijaya Dashami. In Nepal, the festival continues after the tenth day for five more days and concludes on the full moon of the Ashvin month. The
Newar Hindu and Newar Buddhist communities of Nepal also celebrate Dashain or Navaratri as
Mohani. The Newar people share many of the same traditions and customs as Nepalis who celebrate Dashain but hold more emphasis on the worship of their tutelary deities. Throughout the
Kathmandu Valley, the Newar people hold processions to honour their tutelary deities during Mohani. In Kathmandu, a procession called
Bhairav Jatra dedicated to
Pachali Bhairav is held on the fifth day of Mohani. In
Bhaktapur, a procession dedicated to the nine forms of Durga is held with nine dancers wearing masks of the Navadurga. Similarly, a dance depicting the
Ashta Matrika is held on the first day in
Lalitpur. The
Shikali Jatra procession takes place on the seventh day of the festival in
Khokana in which 14 masked dancers perform as Hindu gods. The Shikali Jatra is held in the honour of a local goddess named
Shikali who is believed to be the sister of
Dakshinakali in Newar tradition. A procession dedicated to
Manakamana is held in
Bunga on the ninth day. Some Newar communities hold processions called
Paya in which the participants parade through the streets while holding swords and wearing masks of deities such as Bhairava. This time is observed with the playing and listening of
Malshree dhun, a form of Newar classical devotional music. Kite flying is a common tradition amongst the Newar people in the Kathmandu Valley during this festival. The festivals of Dashain and Mohani are also dedicated to the goddess
Taleju Bhawani, who is held as the guardian of the Kathmandu Valley and a Tantric form of Durga in Nepali tradition. The worship of Taleju Bhawani in Nepal is documented as occurring as early as the
14th century in the Kathmandu Valley. The goddess Taleju Bhawani is linked to the tradition of the living goddess known as
Kumari. In Nepal, a prepubescent girl belonging to the
Newar Buddhist Shakya clan is recognized as an incarnation of Taleju Bhawani after showing physical signs of auspiciousness, being tested for astrological compatibility, and passing ritual tests. After passing the tests and being accepted as the Kumari, the girl is usually enthroned in a Kumari residence and is worshipped by the public as a living goddess until her tenure ends at her first menstruation. The festivals of Dashain and Mohani are significant for the Kumari as she is ceremonially carried out in a palanquin through the streets during processions so devotees can receive her blessings. This ritual is regarded as an embodiment of the divine sovereignty of the girl. == Textual mentions ==