Kumartuli saw heavy crowds on Mahalaya as devotees and organisers arrived to collect Durga idols, slowing traffic across parts of north Kolkata and prompting potters to protest against visitors obstructing their work at the last moment.
Several Durga idols left the city’s traditional potters’ quarter on Saturday for puja pandals and private homes. As the day progressed, the number of people in the area increased, with many visitors collecting idols from artisans’ workshops after offering prayers at the Dhakeshwari Temple in Kumartuli.
The crowd affected vehicle movement on Rabindra Sarani, Madanmohan Tala Street and adjoining areas. Bonamali Sarkar Street reportedly saw particularly dense footfall, making it difficult for organisers to move idols out of the neighbourhood. The congestion also created a difficult working environment inside and around the potters’ workshops.
Babu Pal, an office-bearer of a clay-artisans’ organisation, said that many artists traditionally perform the eye-painting ceremony for Durga idols at their workshops in Kumartuli. He said there had been heavy footfall from the morning as idols were taken to puja venues.
Mohanlal Prajapati, an office-bearer of a clay-related organisation, said artisans had faced considerable anxiety before the puja season because of a problem related to the availability of clay. With that issue resolved, he said, artists were able to hand over the idols to organisers on time.
The Mahalaya crowd extended beyond Kumartuli. Ramdhan Mitra Lane in Shyampukur, outside the residence of Birendra Krishna Bhadra, also attracted visitors. Bhadra, widely associated with the enduring radio presentation of “Mahishasura Mardini”, drew people who came to view the plaque outside the house, place garlands at his bust and pay their respects with Kash flowers. Young visitors took photographs and the media also gathered at the location.
At Kumartuli, however, artisans said the density of visitors was making the movement of idols and the completion of work more difficult. They objected to what they described as a rush to take photographs inside or near workshops at the final stage of production, warning that such interruptions could disrupt their work. The immediate pressure on the area came as idols were being transported out, with no further administrative measures reported in the source material.
