Sarbajanain Durga Puja

Sarbajanain Durga Puja
Kali Puja and Diwali Celebrations
2005
ORGANISED BY WALES PUJA COMMITTEE
Cardiff, Wales
Registered Charity No. 1050138
WPC
Wales Puja
committee
Welcomes you to the Festivities of
DURGA PUJA
(8– 12 OCTOBER 2005)
Kali Puja
(Tuesday 1st. November 2005)
AND
DIWALI
(Saturday 5th. November 2005)
AT PENYRHEOL COMMUNITY CENTRE
PENYRHEOL, CAERPHILLY, SOUTH WALES
CF83 2PE
For further Information visit: www.pujainwales.com
2005 DURGA PUJA PROGRAMME
SASHTHI & BODHAN
Saturday 8 October 2005
Puja, Prasad 6.30 – 9.30 pm
MAHA SAPTAMI
Sunday 9 October 2005
Puja & Anjali
Prasad & Bhog
Arati & Refreshments
11.30 am – 1.30pm
1.30 – 2.30pm
7.30 – 9.30pm
Monday 10 October 2005
Puja & Anjali
Prasad & Bhog
Arati & Refreshments
10.30 – 12.30pm
1.00 – 2pm
7.30 – 9.30pm
MAHA ASHTAMI
SANDHI PUJA
TUESDAY 11 OCT. 2005 8.30 – 9.30 AM
MAHA NAVAMI
Tuesday 11 October 2005
Puja & Anjali
Prasad & Bhog
Arati & Refreshments
DASHAMI & VISARJAN
11.30 – 1.30pm
1.30 – 2.30pm
7.30 – 9.30pm
Wednesday 12 October 2005
Puja & Arati
10.30am – 12.30pm
Visarjan
12.30 – 1.30pm
Prasad & Bhog
1.30 – 2.30pm
SHANTIJAL & VIJAYA SAMMELAN WITH CULTURAL PROGRAMME
WEDNESDAY 12 OCTOBER 2005 7.30 – 10.00PM
Refreshments available
Indian Mela DVD presentation during the day.
KALI PUJA
TUESDAY 1st. NOVEMBER 2005
PUJA, ARATI & PUSHPANJALI
7.00 – 9.30pm
BHOG & VISARJAN
9.30 – 10.30pm
Please bring your friends and family as there will be a small fire work as well during the evening
DIWALI
SATURDAY 5th. NOVEMBER 2005
7.30pm – LATE
BOLLYWOOD STYLE DISCO MUSIC TILL LATE
Food Included, Bar facilities
TICKETS
Adults:
£10.00
Children (5-15)
£5.00
Under 5’s
Free
Book Your Ticket to avoid disappointment
Dr Nath
029 20 484498
Dr Das
029 20 563356
Dr Mukherjee
Mr Kundu
Dr Raha
029 20 736619
029 20 419406
01656 768327
WPC EXECUTIVE COMMITTEE 2005
CHAIRPERSON
Dr Ashok Mukherjee
VICE CHAIRPERSON
Dr S K Sharma
SECRETARY
Dr S Guha-Niyogi
TREASURER
Dr Kanti Nath
ENTERTAINMENT & PUBLICITY
Dr Sandip Raha
Dr Angshuman Mukherjee
CATERING OFFICERS
Mrs P Das
Mrs A Narayan
PUJA CO-ORDINATOR
Mrs S Dutta
Mrs I Haldar
MEMBERS
Dr P Banerjee
Dr C Banerjee
Mr S Bhowmick
Mrs M Bhowmick
Mrs R Choudhury
Dr S Das
Dr R Dutta
Dr A Haldar
Mr T K Kar
Mr D K Kundu
Dr R Majumdar (Hon.)
Mrs S Nath
Mrs J Majumdar (Hon)
Dr M L Nath
Mrs M Mukherjee
Dr R D Narayan
Mr S K Palit
Dr H V Shah
Dr R Sinha-Ray
Mrs B Sinha Ray
Mr Kingshuk Nath
Mrs S Basak
Mrs S Sharma
Dr A Dutta
CHAIRPERSON’S REPORT
October 2005 with its early shivers heralds the coming of winter and with it, the long awaited Durga Puja It
has taken a full one year for us to congregate and celebrate the occasion together. Let us therefore enjoy the
occasion and look forward to many more in the future.
We from Wales Puja Committee take this opportunity to welcome you all and thank you for your relentless
support over the many years. We are delighted that you all attend our functions despite your personal
hardships. Your efforts make it worth our while, giving wings to our thoughts and shapes to our dreams to try
and create an environment so close and important to our lives. I seriously hope that we have been able to
achieve this. Keep your supports coming and we will come up with the rest!
As you may know, our agenda is not merely conducting religious and social functions, but also, contributing
to the host community in a very big way. Our yearly programmes include cross community ventures in which
we make financial contributions to the needy and promote racial integration through social events.
We are very large group and have functioned an exemplary fashion for over 33 years in South Wales. Our
office bearers and members put in selfless effort, looking into and caring for every detail that makes our
committee truly democratic. I would like to thank and congratulate all.
Our especial thanks and respectful salutations go to Dr Acharya, Mr Misra and Mr Chatterjee for conducting
our Pujas with divine devotion. Our thanks also to the management of Penyrheol Community centre for
allowing us to avail their facilities over the years.
On a sad note I wish to convey our condolences to the friends and family of MS Christine Mackay who sadly
passed away two months ago in Cardiff. She was an active member and a dear friend of Wales Puja
Committee.
And finally, as always we welcome your suggestions and value your opinions with regards the functioning of
our committee.
Wishing you all the very best on the occasion of Dusherra.
Dr Ashok Mukherjee
SECRETARY’S REPORT
Once again we are preparing to celebrate our annual festival of Durga Puja followed by Kali Puja
and Light Festival of Diwali at Penyrheol community Centre at Caerphilly. Presence of you and
your family and friends during the celebrations makes the effort worthwhile.
To introduce our cultural heritage to the next generation and to sustain continuity, we need your
support not only by your presence during the festivals but also by participating in our ongoing
events each year.
Together what we could achieve was see during the Indian Mela on 25th. June 2005 in St. David’s
Hall, Cardiff. In my previous report I mentioned that we were invited to take part in the centenary
celebrations of the City of Cardiff. Dr Sandip Raha led the team, members masterminded endless
tasks, and the result was a magnificent show of Colour, music, dance, art, culinary diversity of the
Indian subcontinent, an achievement we can be proud of.
We thank all those who helped WPC by participating in all sorts of activities. We needed and
succeeded to deliver a very gallant show of colour and culture of the subcontinent, which was
exhibited by the both professional and amateur performers in the MELA.
The natural disaster caused by tsunami in South East Asia touched all our soul, the scale of loss of
human life and devastation was not seen before in the modern time. Wales Puja Committee
donated £500 for relief works in South East India.
Published itinerary of the Puja festivals may serve as a helpful guide for your diary to join our
events.
I on behalf of Wales Puja Committee wish to thank all our patrons for their continued support
including Karda for keeping our Protima, Peter Goodridge for transportation of Protima and
Pharmaceuticals Representatives who support financially during Durga Puja by providing stands.
I would like to conclude by conveying our sincere thanks to our priests, all the members of Puja
Committee and the management of Penyrheol community centre for their continued support.
Best wishes and Subho Vijoya
Dr Sakti Guha–Niyogi
INTRODUCTION TO NORTH INDIAN CLASSICAL MUSIC
Ragmala Painting of Ragini Asawari (reproduction of Mewar School)
The music of India is one of the oldest unbroken traditions in the world, whose origins stem from a past shrouded in
mystery, with the paucity of written historical evidence, prior to the 13th century. It has survived centuries, however, by
word of mouth, as well as the legends that had grown over the centuries to have a seal on an enduring musical legacy.
There are differing views on the creation of “sangeet” which is the basis for Indian music. The origins of the Indian music
go back to the days of Vedas, the holy scriptures of the Hindus. According to one legend, it was created by Lord Bramha or
by his strength Debi Saraswati and spread by their son Narad. According to another it had been created by Lord Shiva. For
centuries it was agreed that the “sangeet” was a gift from the gods for the mankind living in the Indian sub-continent. From
the ancient book Sangeet Damodor we came to know that when Lord Krishna was playing flute in Brindavan, 16,000
Gopis gathered and each sang a song and each song became either a rag or a ragini, depending on the gender. Therefore
16,000 rags and raginis were created at the time. But over the centuries, their numbers eventually dwindled down to only
6 rags and 36 raginis. Hundreds of rags and raginis were created with the help of these rags and raginis, many of which
have become obsolete. There are today approximately 120-150 rags in use. When one follows the paradigm of the creation
of rags and raginis, it can be seen that they were inspired by the names of the Gods and Goddesses of the Hindu pantheon
and also crossed the cultural boundaries by including visual art forms for their depictions (as seen in the painting at the top
of this article).
The advent of modern historical and cultural research has also given us a good perspective on the evolution of Indian
classical music. This has shown that Indian music has developed within a very complex interaction between different
peoples of different races and cultures. At the end of the 13th century we saw a further amalgamation of cultural ideologies
with the arrival of Islam. Amir Khusrau (1253-1325 AD), the 12th century Indo-Persian poet and musician associated with
the royal courts of Delhi Sultanate created the Khayal form of north Indian classical music by modifying the style of
Dhrupad and by adding Persian melody and beat (Parsi Gazal) to it. Probably Khayal originated from Qawwalis that he
created on the lines of Bhajans. Khusrau also created the musical instrument 3- string Sitar. Some historians believe that
he also invented Tabla. We also came to know of great Mian Tansen (1520-1589 AD) from the royal court (durbar) of
Akbar, the Mugal Emperor of India, who created rags like Darbari Kanara, Mian- Ki- Malhar, Kalabati, etc.
The present system of Indian music is based upon two important pillars: rag and tal. Rag is the melodic form while tal is
the rhythmic. Rag may be roughly equated with the Western term mode or scale. There is a system of seven notes
(sa,re,ga,ma,pa,dha,ni,sa) which is similar to the western arrangement of Do, Re, Mi, Fa, So, La, Ti. The interpretation of
the rag and the tal is not the same all over India.
Today, there are two major traditions of classical music, that of the north Indian and the south Indian traditions. Both
systems are fundamentally similar but differ in nomenclature and performance practice.
The Hindi word "rag" is derived from the Sanskrit "raga" which means "colour, or passion". It is linked to the Sanskrit
word "ranj" which means "to colour". Therefore rag may be thought of as an acoustic method of colouring the mind of the
listener with an emotion. It has specific characteristics.
There must be the notes of the rag. They are called the swar. There must also be a modal structure. This is called that in
North Indian music and mela in south Indian carnatic music. There is also the jati. Jati is the number of notes used in the
rag. There must also be the ascending or arohana and descending or avarohana structure. Rags have also traditionally
been attributed to particular times of the day. They have also been engendered into families of male and female rags.
After this initial introduction I would like to endeavor into describing few of my favourite rags which have been adopted
into the modern day Bollywood film music:
RAG AHIR BHAIRAV
DESCRIPTION
This is an old rag. It is characterized by the use of Komal Re and Komal Ni. This is an early morning rag. Ahir Nhairav is
very well known through old film songs such as "Pucho Na Kaise" and "Meri Bina Tum Bin Roye Sajana".
RAG ASAWARI (ASAVARI)
DESCRIPTION
Rag Asawari is considered to be the fundamental rag in Asawari that. One common song in this rag is "Meri Yad Me Tum
Na Ansu Bahana". Asawari is a morning rag. It is Audav - Sampurna due to the omission of the Ga and Ni in the
ascending structure.
RAG BHAIRAVI
DESCRIPTION
This rag is the main representative of Bhairavi That. It has traditionally been performed in the early morning hours.
However, due to the fact that performances lasted all night, it has now become common to consider Bhairavi to be the
finale. Today this rag is performed at any time provided it is the concluding piece. A few common songs in this rag are,
"Babul Mora Naihar Chutohe Jai", "Jyot Se Jyot Jagate Chalo", and "Laga Chunari Me Dag Chupaun Kaise".
KALYAN
DESCRIPTION
This rag is known by several names; Kalyan, Iman, Eman, or Yaman. Strangely enough, Yaman Kalyan is a different rag.
Kalyan is very popular and some commonly known examples of songs in this rag are "Ansu Bhari Hai Jai Jivan Ki
Rahen", "Ja Re Badara Bairi Ja Re" and "Jiya Le Gayo Re Mora Sanvariaya". Yaman is a sampurna rag which is
performed in the first part of the night.
RAG KHAMMAJ
DESCRIPTION
This rag is one of the most common in Indian music. Although it is used in the classical styles, its romantic character
makes it much more appropriate to the semi-classical and lighter styles. It is traditionally ascribed to the second part of the
night. "Kuch To Log kahenge" and "Nazar Lagi Raja Tore Bungal Par", are two well known examples of common songs
in this rag.
RAG KAFI
DESCRIPTION
Rag Kafi is the primary rag in Kafi That. One common song in this rag is "Biraj Me, Holi Khelat Nand Lal". It is a
sampurna-sampurna rag that is very straightforward in its execution.
RAG DARBARI KANARA
DESCRIPTION
There can be no doubt that Darbari Kanara is one of the most popular rags in the entire North Indian system of classical
music. It is a night time rag. It is said to have been invented by Tansen who sang in the durbar (royal court) of the
Emperor Akbar, hence the name Darbari Kanara. A few common film songs are "Ghunghat Ke Pat Khol Re Tohe Piya
Milenge", "Jhana Jhanak Tori Baje Payaliaya".
Banani Sinha Ray
(Sangeet Provakar & Sangeet Bisharad)
Shaadi Mubarak
Love; Life; Liberty;
Gifts received at birth, taken for granted and given away at ease.
The sounds of the shennai are as awe inspiring as they are entertaining.
Thank god summer has passed! One more June wedding, and I was ready to use the “thoughtfully” provided
disposable camera, on parts of my anatomy that no one would want to frame.
Oh how the weak have fallen… I have this year watched many of my friend’s line up at the mandap. Trying
their hardest to hide the imprint of fear on their face, proclaiming in secret how this won’t change them. But it
does and two weeks later, the dust has settled, the honeymoon’s over, and the photographers been paid.
Suddenly the trips to East Asia, the ideas of joining MSF, the new business plans are all a life time ago. All they
talk about is the latest greatest sale at homebase and how Ikea furniture, though practical may not suit the
eclectic vibrancy of their new semi.
A month later you’re invited to dinner, with a dining table! And placemats! Surprising you see because only a
few months ago, the distinguished gentleman sitting opposite, was finishing of the remains of your kebab. I
wonder if his wife knows that story.
Another month passes, and though it hasn’t been that long, you’re back for dinner. Though the placemats are
the same you’ve noticed a distinct change in the quality of the food. Then, to you horror, you discoverer he’s
made most of it himself! You’re forced to examine his face, the once youthful exuberance has long faded, those
wrinkles aren’t laughter lines and I’m sure the ball and chain has put on weight.
So the change is in full swing. The once helpful, bend over backwards, single friends have become a burden. As
in many Hitchcock movies the monster appears from the shadows, not one but two. From now on until your
demise, or worse, the following statement will frame your life. We know a nice single girl (she isn’t nice,
recently annulled, and there’s only a fifty percent chance she’s a girl). What you have before you is the match
making monster from hell. It is true, misery loves company!
Perhaps they are happy in their new circumstance, perhaps theirs is something to be envied, or perhaps they’re
delusional and the three hours of Sanskrit they sat through caused something in their head to break.
Perhaps I shouldn’t be so despondent, June is now many months away… and the shennai, well it doesn’t sound
that bad!
Angshuman Mukherjee
Sindhur Khela and Visarjan Pictures from 2004
On The Tug Boat – Cardiff Ba
Ready Steady and Visharjan
Stuffed Courgette with Aubergine sauce.
Ingredient :
6 courgettes, 1 medium size aubergine, 1/2 cup phool makhanee, 2 tbl.spoons of poppyseeds, 1 tbl.
spoon mustard seeds, 1 tomato, 1/2 tea spoon heeng, 1/2 tea spoon haldi,2 tea spoons grated ginger, 2
tea spoons chopped green chillies, 3 tbl spoons plain flour, oil for shallow fry and for making sauce,
salt to taste.
Roast aubergine, remove outer skin. Wash courgettes,top and tail and cut into lengthways,scoopout the
pulp and save them for stuffing. Grind poppy and mustard seeds..
Stuff courgette shells with mixture of phool makhanee,poppy and mustard, half of ginger,chillies,salt
and courgette pulp.
Dip stuffed courgettes in batter made with flour, salt and water. Shallow fry. Arrange them in oven
proof dish.Put 3tbl spoons oil in the pan, when hot temper with heeng, add mashed roasted
aubergine,chopped tomato, grated ginger, chopped chillies, haldi and salt. Keep stirring over low heat
until oil start to seperate. Add cup of water,bring to boil and pour over arranged courgettes. Cook in
oven for 25 min in medium heat.
Serve with rice or nun.
Ila Haldar
MALAI KOFTA
KOFTA
•
•
•
•
•
•
Mince Meat
Garlic paste
Chilli Paste
Salt
Oil
Corn Flour
GRAVY
250gm
1 Teaspoon (tsf)
1 tsf
½ tsf
1 tsf
1 tsf
Garlic Paste
1 teaspoon
Ginger paste
1 tsf
Turmeric Powder
½ tsf
Garam masala powder ½ tsf
Roasted Cumin powder ½ tsf
Oil
2 tsf
Cashew Nuts
Double cream
1 ½ cup
Green Chillies
Coriander Leaves
Tomato
1
Onions
2
Instructions:
To make the kofta, mix all the ingredients into the mince meat and then make small balls. Shallow fry
these until they are brown. Simple as that!
Before you make the gravy, boil the two onions to make a paste and chop and fry the cashews. For the
gravy, heat oil or ghee in a frying pan and add the onion, chilli, and garlic paste to it. Fry until the oil
separates. Now chop and add the tomatoes, fry these until they’re soft. Next add the double cream
(don’t worry the calories are worth it) and salt to taste. Now sit back and simmer gently… enjoy the
aroma!
When off the stove, sprinkle with garam masala, roasted cumin, coriander, chopped green chillies, and
the cashew nuts.
The next step is probably the most difficult; now that it’s made you’ll have to decide whether you
want to share.
From the kitchen of :
Mahua Mukherjee
Cook extraordinaire
Quality assured
PATUAs (Folk-Painters) from Bengal
Courtesy: Late Christine Mackay in the picture
In Memory of Christine Mackay 1942 --- 2005
Christine Mackay was a close friend and an active member of Wales Puja Committee. She was the
main inspiration behind CREATING DURGA – THE ART OF HINDU IMAGE MAKING project
which we commissioned in Cardiff in 2003. She actively helped our committee to organise displays of
our Durga image in the National Museum of Wales in 2001 and 2003 to raise awareness of our
activities amongst the local population. She retired as the chief conservationist from the National
Museum of Wales in September 2004 and spent her first retirement vacation in India during Durga
Puja in 2004 experiencing the festivities in Kolkata.
On behalf of the Calcutta Tercentenary Trust Christine went out to Calcutta for the first time in 1994.
Her commitment was to restore the weather ravaged paintings at the city’s Victoria Memorial. She
loved India and its rich cultural heritage and especially art and crafts like Patas, Kalighat paintings
(which she resurrected in the National Museum of Wales). During numerous trips to India she
collected many rich cultural artifacts and displayed them proudly in her house in Cardiff. I had the
privilege of knowing her closely and after a brave fight against cancer she died peacefully in the
University Hospital of Wales, Cardiff.
We will miss her immensely and her guidance and help in many future projects of our Puja committee.
Compiled by Dr Sandip Raha
Our Saraswati Puja by Mr Misra
JACKIE SAREE CENTRE
Wedding Sarees
Childrenwear
Salwar
Fabric for
Kameez
Asian & African
Hall Mark 22 ct Gold Jewellery
Open
10 am – 6 pm Mon – Sat
12 -5 pm Sunday
85 Tudor Street, Riverside, Cardiff
Tel: 029 203444527
DIFFERENT TOUCH
Saree – Salwar Kameez
Lehenga
Chandeliers
Jewellery
Decorative Frames
Much Much more!
Paintings
Ornaments
And with That
Different Touch
1a Leckwith Road, Canton – Cardiff
Tel: 029 20341155 Mob: 07968 437970
Open 10 am – 6 pm
( Sunday Closed)
SHAHAN
Halal Food Store
Fresh Produce
Vegetables
Imported directly from Bangladesh
Halal Meat
Fish Great Variety of Spices
Specialist Suppliers Keema of Meat
& Kheema to Restaurants & Takeaways
24 Ninian Park Road, Riverside, Cardiff
Tel: 029 20399260
Different Forms of Durga
As the ten-armed Goddess, Goddess Durga presents a radiantly beautiful form that is bewitching to
behold. That special form is somehow simultaneously wrathful and benign and transmits profound spiritual
teachings in an exacting manner. The nine-day period from the new moon day to the ninth day of Ashvina
is considered the most auspicious time of the Hindu Calendar and is hence the most celebrated time of
the year as Durga Puja. The nine different forms of Devi are worshiped over the nine days. These are the
most popular forms under which she is worshiped:
Durga Shailputri (Daughter of Mountain)
She is a daughter of Himalaya and first among nine Durgas. In previous birth she was the daughter of
Daksha. Her name was Sati - Bhavani. I.e. the wife of Lord Shiva. Once Daksha had organized a big Yagna
and did not invite Shiva. But Sati being obstinate, reached there. Thereupon Daksha insulted Shiva. Sati
could not tolerate the insult of husband and burnt herself in the fire of Yagna. In other birth she became
the daughter of Himalaya in the name of Parvati - Hemvati and got married with Shiva. As per Upanishad
she had torn and the egotism of Indra, etc. Devtas. Being ashamed they bowed and prayed that, "In fact,
thou are Shakti, we all - Brahma, Vishnu and Shiva are capable by getting Shakti from you."
Brahmacharini
The second Durga Shakti is Brahmacharini. Brahma that is who observes penance (tapa) and good conduct.
Here "Brahma" means "Tapa". The idol of this Goddess is very gorgeous. There is rosary in her right hand
and Kamandal in left hand. She is full with merriment. One story is famous about her. In previous birth
she was Parvati Hemavati the daughter of Himvan. Once when she was busy in games with her friends.
Naradaji came to her and predicted seeing her Palm-lines that, "You will get married with a naked-terrible
'Bhole baba' who was with you in the form of Sati, the daughter of Daksha in previous birth. But now you
have to perform penance for him." There upon Parvati told her mother Menaka that she would marry none
except Shambhu, otherwise she would remain unmarried. Saying this she went to observe penance. That is
why her name is famous as tapacharini - Brahmacharini. From that time her name Uma became familiar.
Chandraghanta
The name of third Shakti is Chandraghanta. There is a half-circular moon in her forehead. She is charmful
and bright. She is Golden color. She has three eyes and ten hands holding with ten types of swords - etc.
weapons and arrows etc. She is seated on Lion and ready for going in war to fight. She is unprecedented
image of bravery. The frightful sound of her bell terrifies all the villains, demons and danavas.
Kushmanda
Name of fourth Durga is Kushmanda. The Shakti creates egg, i.e. Universe by mere laughing .She resides
in solar systems. She shines brightly in all the ten directions like Sun. She has eight hands. Seven types of
weapons are shining in her seven hands. Rosary is in her right hand. She seems brilliant riding on Lion. She
likes the offerings of "Kumhde." Therefore her name "Kushmanda" has become famous.
Skanda Mata
Fifth name of Durga is "Skanda Mata". The daughter of Himalaya, after observing penance got married
with Shiva. She had a son named "Skanda." Skanda is a leader of the army of Gods. Skanda Mata is a deity
of fire. Skanda is seated in her lap. She has three eyes and four hands. She is white and seated on a lotus.
Katyayani
Sixth Durga is Katyayani. The son of "Kat" as "Katya". Rishi Katyayan born in this "Katya" lineage.
Katyayan had observed penance with a desire to get paramba as his daughter. As a result she took birth
as a daughter of Katyayan. Therefore her name is "Katyayani”. She has three eyes and eight hands. These
are eight types of weapons missiles in her seven hands. Her vehicle is Lion.
Kalratri
Seventh Durga is Kalratri. She is black like night. Durga hairs are unlocked. She has put on necklaces
shining like lightening. She has three eyes which are round like universe. Her eyes are bright.
Thousands of flames of fire come out while respiring from nose. She rides on donkey. There is sharp
sword in her right hand. Her lower hand is in blessing mood. The burning torch (mashal) is in her left
hand and her lower left hand is in fearless style, by which she makes her devotees fearless. Being
auspicious she is called "Shubhamkari."
Maha Gauri
The Eighth Durga is "Maha Gauri." She is as white as a conch, moon and Jasmine. She is of eight
years old. Her clothes and ornaments are white and clean. She has three eyes. She rides on bull She
has four hands. The above left hand is in "Fearless - Mudra" and lower left hand holds "Trishul." The
above right hand has tambourine and lower right hand is in blessing style. She is calm and peaceful
and exists in peaceful style. It is said that when the body of Gauri became dirty due to dust and
earth while observing penance, Shiva makes it clean with the waters of Gangas. Then her body
became bright like lightening. There fore, she is known as "Maha Gauri”.
Siddhidatri
Ninth Durga us Siddhidatri. There are eight Siddhis, they are- Anima, Mahima, Garima, Laghima,
Prapti, Prakamya, Iishitva & Vashitva. Maha Shakti gives all these Siddhies. It is said in "Devipuran"
that the Supreme God Shiv got all these Siddhies by worshipping Maha Shakti. With her gratitude
the half body of Shiv has became of Goddess and there fore his name "Ardhanarishvar" has became
famous. The Goddess drives on Lion. She has four hands and looks pleased. This form of Durga is
worshiped by all Gods, Rishis-Munis, Siddhas, Yogis, Sadhakas and devotees for attaining the best
religious asset.
Compiled by Sandip Raha
To What Extent was Indian Independence a Direct Result of World War Two?
Is it very difficult to say whether India gained its independence from Britain hi 1947 as a result of World War Two? As although
the war had a great impact on Britain's capacity to continue to act as a front rank imperial power, the contribution of a
growing powerful and vocal Indian national movement must not be put to the sidelines. Before the War, India's political
awareness had already been awakened and there was a desire to re-establish its identity.
The social and economical problems caused by the War, brought to the fore the problems of an ageing empire whose cracks had
begun to show. In a climate of shrinking resources, post-war Britain took a conscious decision to remove itself from its
responsibilities in India, to focus on regions that were, as a result of the war, more vital to its global power and prestige, such as the
oil rich middle east. By 1946 Britain owed India more than £1,300 million as a result of India becoming a vital source of men,
money and war materials. Expenses for defending the colony during the war from the invading Japanese soared during 1944-5
and between 1941 and 1946 India provided £286.5 million worth of textiles, clothing and ordinance for the war. Britain could
no longer assume that India would provide a protected market for British goods as tariff policy had been controlled in India
before the war, and could not be reversed. As Lord Wavell the Viceroy of India said to Winston Churchill in 1944, “The most
serious risk of all is that India after the war will become a running sore which will sap the strength of the British Empire”.
The war badly affected the Indian population, as by 1940 it had resulted in rampaging inflation and a serious shortage of
essential commodities such as food. Rationing allocated by the authorities sentenced people to dire hardship when the
system collapsed such as in Bengal in 1943. These were the words of Lord Wavell about the Bengal famine-“one of the greatest
disasters that has befallen any people under British rule”. Incidents such as these caused irreparable damage to the credibility of
British rule.
This increased the growing fear within the ‘Raj’ that they could no longer trust the 'steel' with which they ruled. The army and
the police were predominantly manned by Indians and the War caused many numbers of the police force to resign and join the
army, which had left the police services in some areas seriously degrade leaving the ‘Raj’ exposed. Meanwhile the threat of Japan
as well as reports that many Indians felt that the Japanese were coming solely to liberate them from colonial rule, were a
further factor which had shaken British minds.
The emergence of the Indian National Army, where prisoners captured by the Japanese fought against the British, was a special
case of disaffection mainly due to the fact that disaffection was scarce. The INA was organised by Netaji Subhas Chandra
Bose who had fled Bengal in 1941 to join the axis. Although the INA did little damage, the fact that thousands of Indian soldiers
had seen fit to renounce their oath of allegiance, raised serious doubts about whether the military could be relied upon to
enforce British imperial authority. Indian and American scholars generally accept the view that INA’s role in Indian
independence was vital, particularly the political impact of the Delhi trials.
It was after the war, however, that the loyalty of the police and troops came to be seriously doubted, with several strikes such as
in 1946, there were police strikes in Bihar and Madras. For many service conditions, communal strife as a result of the harsh
life, and that many were suffering as a result of the war, were the real causes for complain.
The effects of the war were also the fact that it brought the Labour Party in Britain into government in 1945 following a
landslide victory in the general elections, with the electorate drawn to the party’s claims in their manifesto, of providing
employment and reviving Britain's war torn economy. There is the argument that the war actually delayed India from gaining
its independence. The leaders of the opposition Labour party were willing to pass a comprehensive independence bill if they
were able to get into power in 1938. The arrival of war prevented this from happening. However, this does
not explain the fact that in the Labour party's 1945 manifesto it stressed a global role for Britain and the maintenance of her
Empire.
National unrest in India had been growing before the war. The mid-nineteenth century saw the emergence of a considerable
body of more well-educated Indians, often studying in Britain. On the basis that governments survive by providing the needs of
their citizens, the ‘Raj’ failed to satisfy this group with high taxation and the fact that writers such as William Digby suggesting
that the tax money was not being well spent. The idea of Nationalism had spread throughout the world, and these educated groups
in India saw that it was essential to create a credible organisation to politically oppose the ‘Raj’. The Indian National Congress
was formed in 1885. Although initially only a middle class party, by 1938 it had four and a half million paying members.
After 1920, the Congress demanded independence because it had no faith in continual British declarations of democratic
intent. The Government of India Acts of 1919 and 1935 introduced representative institutions in the provinces. However, they
empowered the British Viceroy to veto any legislation introduced as a result of provincial legislatures which in the eyes of
Indian Nationalists did not represent a democratic system. Jawaharlal Nehru even described it as 'a charter of bondage'.
To counter the Congress demand for liberty, the British sought the support of politically and socially conservative Indians such
as landlords, princes and the All India Muslim League. The Congress strategy to undermine any imperial claim to legitimacy was
to build up a democratic organisation with elected office bearers, open to all Indians, and the civil disobedience movements
took its message to the far flung countryside.
Congress's electioneering machine was vital. It was the one party which had accumulated skills of mass propaganda and was
highly professional in their approach, directly appealing to the electorate, and sometimes promising considerations in return for
votes and assistance. Also the Congress manifesto was often modified by local men to suit local conditions. With each seat
contested, about 4000 Rupees were spent which made it imperative that Congress chose candidates that could finance
themselves. By contrast opposing parties were poorly organised and funded, such as the Justice Party in Madras, which relied
on old methods of electioneering and failed to gain enough popularity to offer ordinary people any viable alternative. In the
provincial elections held in 1936-7, the mass support enjoyed by the Congress enabled it to rout conservative landlords. By
1939 the spread of the Nationalist message rendered the loyalist princes politically ineffectual. As the legitimacy of Congress as
a potential ruling party increased in public mind, for many who chose to be active in politics, Congress became the inevitable
political environment in which they operated.
Many of the Congress candidates in the 1937 elections joined from other political parties. The party organised a campaign of
mass protest, law-breaking and non-payment of taxes under the guidance of Mahatma Gandhi. On the 26 January 1930, huge
crowds gathered in cities and towns to show support for an ultimatum issued to the government to remove the pernicious salt tax
and joined the 'Salt march'. This made the position of Congress look reasonable to the world. This was the second campaign to
try and topple the ‘Raj’ following an initial campaign of peaceful non-cooperation in 1922, where there was a boycott of British
goods, and of government schools, colleges, law courts and legislatures. Non-cooperation began as Gandhi lost faith in the
British Empire, following the Amritsar massacre and British treatment of Turkey following the First World War, which in
the eyes of Muslims showed British duplicity. Gandhi's expectation that the ‘Raj’ would wither away didn't come into being. In
his fear of the prospect of the movement falling into the hands of the mob, he targeted areas of the government where participation
of Indians would not result in confrontations with the police. But by doing this full scale non-cooperation was never reached. An
example of his distaste for mob violence came in February 1922, where just as the first round of civil disobedience was
about to start, he found out about Congress workers in a village who had torched a police station killing 22 constables. As a
result of this, he suspended the entire movement. As he says in a letter to Nehru, “I assure you that if the thing had not been
suspended we would have been leading not a non-violent struggle, but an essentially violent struggle”.
Open opposition to the ‘Raj’ increased the numbers of non-paying supporters for the Congress, and with Gandhi using tactics
called ‘satyagraha’ or ideas of peaceful resistance, brought many more sympathisers. But the congress leaders did not always stop
at peaceful protest and showed a readiness to experiment with more drastic forms of agitation, a mood encapsulated in Gandhi’s
slogan for the Quit India movement of 1942, ' Do or Die'. Violent protests were taken further by the revolutionaries. In 1930,
Bengal extremists killed the District Magistrate of Midnapore when raiding an armoury.
However, the country's nationalist organisations never managed to translate their common anti-imperialism into an unified
campaign for freedom, because they held different conceptions of what a free India should be like, and although Congress gained
respect, both of its campaigns were ultimately outlasted by the ‘Raj’.
Up to the time of World War Two the mood in India was changing. An increase in educated Indians provoked a rethink of
India's nationhood and identity. The subsequent freedom campaigns by organisations such as Congress dispelled a major
argument that India needed to have democracy implemented by the British. Meanwhile, increased pressure on Britain from
America was growing, who had begun to take a keen interest in the topic of Indian Independence. India was still a valuable
commodity to the British and it was unlikely that Britain would have given India its independence until later on in the century.
The Second World War acted as a catalyst and forced Britain to relinquish its colony, as in the end, the priority came to become a
peaceful separation to maintain trade links.
Ricky Sinha Ray
ACCOUNTS
2004/2005
Expenses
INCOMING FUNDS
Durga Puja
Donations
Kalipuja
Diwali
Saraswati Puja
Bank Interest
Income
7305.24
3735.25
875.00
439.78
1419.50
690.56
145.15
EXPENSES
Durga Puja
Hall & Related Charges
Transport of Protima & Visharjan
Souvenir
Fruits,Flowers,Food/Provisions
Miscellaneous
KALI PUJA
Hall & Related Charges
Fruits,Flowers & Provisions
Miscellaneous
4452.95
591.45
592.75
527.00
2389.40
352.35
659.98
92.86
481.15
85.97
DIWALI
Hall & Related Charges
Entertainment
Food/Provisions
Miscellaneous
92.86
350.00
641.75
454.78
SARASWATI PUJA
Hall &Related Charges
Fruits,Flowers & Provisions
Entertainment
Miscellaneous
152.86
320.53
150.00
291.93
GENERAL EXPENSES
WPC Website
Donations to Noah's Arc & Tsunami
Amplifier,Microphone etc
Indian Mela 2005
Miscellaneous
318.42
750.00
389.99
901.66
35.00
TOTAL
Surplus/Deficit
Balance B/F
Balance C/F
Cash in Bank
1539.39
915.32
2395.07
9962.71
-2657.47
10136.00
7478.53
7305.24
7478.00
Dr Kanti Nath
Treasurer
CURZON’S LAST LAUGH
This is the centenary year of Banga-Bhanga, the infamous ‘Partition of Bengal’ of 1905. George
Nathaniel Curzon, Marquis of Kedleston, the Viceroy and Governor General of India at the time,
felt that the Presidency of Bengal, comprising of Bengal, Bihar and Orissa, was an
administrative nightmare. Particularly when the religious majority population of East Bengal
was not getting (he thought) the bliss and bounty of the British Raj. Hence the presidency
needed to be cut up into two. The Eastern half, with fifteen districts of the Rajshahi, Dacca and
Chittagong divisions was to be joined to Assam to form the new province of ‘East Bengal and
Assam’. The Western half of Bengal appended with Bihar and Orissa would form the province of
‘Bengal’. With the authority and power vested in him Curzon did just that in 1905.
Lord Curzon’s sudden concern about administrative difficulty was his camouflage for diffusing
the surge of Nationalism in which Bengalee intelligentsia took a leading role. Additional bonus
for him was – deepening the religious divide between Hindus and Muslims. Also, getting the
Muslims on his side in crushing all united political activities in Bengal. This partition back fired
on Curzon, yet in his habitual arrogance Curzon proclaimed – ‘Bengal partition is a settled fact’.
The country cried out – ‘We shall unsettle this settled fact’. Political agitation in Bengal by the
Bengalees, for the first time in the history of India’s Freedom Movement, adopted new tactics in
protesting. In addition to usual political meetings, Hartaals (general strikes), Nagar Samkirtans
(large-scale processions, singing patriotic songs), Rakhi-Bandhan (tying of solidarity bands on
each others’ wrists), Arandhan (nonpartaking of cooked food as a mark of mourning) and
boycotts (shunning all British manufactured goods) were practised. In some quarters armed
protest showed its ugly face. All the leading Bengalees took part in this agitation. Rabindranath
Tagore was enormously vocal in this agitation. He composed over twenty patriotic songs for the
movement. Not only that, he lectured and processed all over Bengal tirelessly, as did many of
the Bengalees of all political statures.
This truncated state of Bengal existed for the following six years as did the political unrest in
the partitioned Bengal. However, eventually the Raj caved in a limited way. In December 1911 a
Royal Proclamation at Delhi Durbar announced that reunification of Bengal was to be granted –
without Bihar, Orissa and Assam. The latter were to constitute individual provinces. The
Bengalees were jubilant again.
Alas, such jubilation was only to last for a little over three decades. Bengal once again was
partitioned in 1947 and the eastern part of Bengal constituted a part of the newly born Muslim
country of Pakistan. Eventually, in 1971 East Pakistan became the sovereign country of
Bangladesh. Whatever the name acquired by its eastern part, the fact remained that it was the
result of Bengal’s partition in 1947. Thus, George Nathaniel Curzon had the last laugh in the
matter.
Dr Bishnu P Choudhury
REPORT ON INDIAN MELA 2005
On 25 June, 2005 Wales Puja Committee organised an Indian Mela at the St. David’s hall, Cardiff. The
event was sponsored by Cardiff 2005(Cardiff city council) to celebrate Cardiff’s city status for 100 years
and as Capital city Wales for 50 years. Mela was inaugurated by His Excellency Sri Kamalesh Sharma,
Indian High Commissioner in the United Kingdom.
There were variety of stalls of food, Jewelleries, Indian Arts & crafts, handmade Indian greeting cards,
mehendi, head massage, Indian tourism to name a few. Chairman of WPC’s welcome address and the
High commissioner’s speech were soon followed by a vibrant and colorful cultural programme.
There were absorbing Folk songs and dance performances Rajasthani, Bengali, Gujarati, Punjabi as well
as in English and Welsh. Performances of India dance Wales and Bharatnatyam were particularly
enjoyable. There was also Tabla recital, story telling and comic bytes. The highlight of the daytime
programme was a spectacularly choreographed and very colourful Indian fashion parade by the
youngsters.
Evening programme included an enchanting sitar recital and the performance of the kathak dance was
simply mesmerising. The entire cultural events were compered by Annand Jasani, MBE and the coordinator of the Mela was Dr Sandip Raha.
The entire event was a memorable and a roaring success.
Compiled By Dr Asit Haldar
Similarities and dissimilarities of Hinduism and Christianity
HINDUISM
1.
2.
3.
4.
5.
6.
7.
8.
9.
Believe in a one, all pervasive Supreme being, who
is both immanent and transcendent, both creator and
unmanifest reality
Hindus believe in the divinity of the four Vedas, the
world’s most ancient scripture.
These primordial hymns are God’s word and the
Bedrock of Sanatana Dharma, the eternal religion.
Hindus believe in endless cycle of creation,
preservation and dissolution of universe
Karma, the law of cause and effect by which each
individual creates his / her own destiny by their
thoughts, words and deeds, is the basis of Hindu
Belief.
Reincarnation of the soul, evolving through many 4.
births until all Karmas have been resolved and
moksha, liberation from cycle of rebirth, is
Attained is central to Hiduism. Not a single soul
Will be deprived of this of this destiny.
Hindu believe that all life is sacred, to be loved
And revered, and therefore practice ahinsha,
noninjury, in thought, word and deed.
Hindu believe that there are divine being in unseen
Worlds. Temple worship, rituals, sacraments and
Personal devotionals create communication with
these devas and Gods.
Hindu believe that no religion teaches the only
way to salvation above all others, but all genuine
paths are facets of God’s light, deserving tolerance
and understanding.
Hindus believe that an enlighten master, or Satguru
Is essential to know the transcendent absolute, as
are Personal discipline, good conduct, purification,
Pilgrimage, self-inquiry, meditation and
Surrender in God.
CHRISTIANITY
1. Christians believe that the Bible is the uniquely
Inspired and fully trustworthy word of God. It
is the final authority for Christians in matters
of belief and practice, and though it was
written long ago, it continues to speak to
Believers today.
2. Christians believe that world was created once by
the divine will, was corrupted by sin, yet under
God’s providence moves towards final
Perfection.
3. Christians believe in one God in three persons.
He is distinct from his creation, yet involved
With it as its sustainers and redeemer.
4. Christians believe that , through God’s grace
and favour, lost sinners are rescued from guilt,
power and eternal consequences of their evil
Thoughts, words and deeds.
5. Christianity believes that it is appointed for
Human beings to die once and after face judgement.
Those who are called by God and respond to his
grace will have eternal life. Those who persist in
rebellion will be lost eternally.
6. Christians believe that spirit beings inhabit the
Universe, some good and some evil, but worship
is due to God alone.
7. Christians believe that God has given us a clear
Revelation of himself in Jesus and the sacred
Scriptures. He has empowered by his spirit
Prophets, apostles, evangelists and pastors who
are teachers charged to guide us into faith and
Holiness in accordance with his word.
8. Christians believe that life is to be highly esteemed
but that it must subordinated in the service of
Biblical love and justice.
9. Jesus is the God incarnate and therefore, the only
sure path to salvation. Many religions may offer
ethical and spiritual insights, but only Jesus is the
way. The truth and the life.
www.pujainwales.com