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(Words & Tales)

) Traditions Triumph ( ) Nostalgia Express ( ) ..

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) Pursuing the touch of Bengal in New Zealand Touch of Motherland in Foreign Land ( ) ) ) ) ) The Magnificent Dead Cities of Ancient Syria ( .. .. .. ) .. ) .. .. ..

) ) Nandan Durga Puja, 2012 ( ) All about Henna / Mehendi ( ) Poetry by our little friend ( ) Artwork by our little friend (

.. , / ) .. ) .. ) .. ) ..

) Durga Puja and Lakshmi Puja Invitation by Nandan Paribar, 2013 ( ) ) .. .. ) ) ..

) Cricket: The Unofficial National Game of India ( ..

Tradition Triumph!!
Yaa Devi Sarvabhooteshu Srishti Roopena Sansthita Namas Tasyayi Namas Tasyayi Namas Tasyayi Namo Namaha!
Durga Puja has traditionally been the most celebrated festival of West Bengal in general, and Kolkata in particular. People from all sects and religious have been celebrating this event with great fervour and enthusiasm for years. Zamindars (rich landlords) and aristocratic families of the state have long been known to celebrate this festival in their own unique ways, thus giving birth to the concept of Bonedi Barir Puja. Besides worshipping the goddess, these rich families have always shown the importance of preserving the culture and tradition in the finest way. They have always engaged in Durga puja celebrations in such intense way that the festivities have always matched the opulence and charm of the common form of financed Barowari pujos. In the pursu it of Indian culture, these families have never cared about prizes and themes. With Bonedi Barir Puja, they have always exhibited the significance of age-old traditions, rituals and great culture of India. North Kolkata is very popular for this form of puja festivities and celebrations, and anyone can come here to see to believe it. Each generation passed on the baton to the next. And despite financial constraints, the families have adhered to these rites. Little wonder then, that thousands of devotees flock to catch a glimpse of the families and their rituals that were once the talking point of the town.

Roy Bari - Kolootola

The 150 years old Badan Chandra Roy Estate Durga puja was started by Late Badan Chandra Roy in his palatial three stories house at Kolootola opposite to Medical College Hospital. According to family sources Roy a patronymic title of the original Subarna Banik Pals hails their origin from Raynagar of Ayodhya. After successive migration to various places they settle in Kolkata near Eden Hospital Road. However, that house was razed to make way for Central Avenue and Mackintosh & Burn built this new house in 1857. The genealogy of Roy family has been well documented and the family tree traces the origin of our Durga Pujo in the ye ar 1857 said Dr. Sagar Lal Roy a member of the family. In our family Ma Durga is seated on a alter in the sprawling marbled pavilion

under the holy arch chalchitra adorned in the indigenous daker saj. Till 1960s the miniscule figures on the arch were painstakingly painted by the artist but now all are printed sheets pasted there. Our Pujo count down starts from Ulto Rath when Kathamo Pujo is performed. The devotional process of the deity begins from Mahalaya. According to a young member of the family, we look forward to these few days with baited breath, everyday the break of dawn is with the melodious chanting of Chandi Pathe followed by the rhythm of the Dhak and Puspanjali thereafter. During these days we do not eat anything before Anjali. Burning of Dhuna on the heads of our mothers and aunts is also some thing very special to see. For us it is an auspicious time and fun time as well. In Roy family Ma Durga is still carried on shoulders of the devotees to the Ghat for immersion.

Dhar Bari Colootola

Purna Chandra Dhar, a cashier at the erstwhile British firm Jardine & Skinner, as well as Tata Finlay Limited, was a successful businessman. But success was not taken too well by society at the time. The family was ostracized for cros sing the kala pani (a term for Indians who went to the UK in the 19th century) and dealing with the foreign trade of salt and sugar, said Kalachand Dhar. The family were forced to flee to the Hooghly and finally arrived in Kolkata in the 1850s. In the year of 2010, Dhar family has celebrated 150-year-old Durga Puja. It was Purna Chandra Dhar who begun the Durga Pujas on the premises. But the beginning of the puja was not at all pleasant. It was in 1946, the communal riot outraged the sense of humanity and secular consensus, resulting communal

polarization. Secularism in India is flawed and it has been used as an instrument of political expediency. People were terrorizedHindus said, the terrorists were Muslim and Muslims uttered , the culprits were Hindus.the British smiled behind the curtain. Unfortunately we were trapped in the web of some opportunist politicians. It was very difficult to identify the killer or a savior. Because the words, Terrorist, Criminal are not written on anyones forehead. But when the fear of terror run after someone, he or she gets petrified and escape. During that time Dhars absconded from their house. But the shrewd British guided them back to their Tin Mahala Bari. Basatbari, Dolbari and Thakurbari. The Durga Puja of Dhar Bari commences with the Kathamo Puja , which is scheduled on the day of Ratha Yatra. Then after the articulation of the clay idol is taken place. Mahalaya is an auspicious occassion observed seven days before the Durga Puja. This day announces the arrival of the Goddess,the supreme power for the demolition of the evil. There is a detailed method to worshiping Goddess Durga that are mentioned in the scriptures. Items which are needed for the ritual worship of the goddess should be collected beforehand so that the ritual is performed smoothly. Dhars have been following all the rituals since 150 years. Main Puja starts from Maha Saptami. Kola Bow is being carried to Ganga for pre-dawn bath. The Saptami Puja follows Kalparambho and Mahasnan. The Maha Ashtami commences with Ashtami Puja, followed by Arati and Puspanjali. The a special ritual takes place, i.e Dhuno porano, where the married women pray to Durga Maa for the peace and prosperity of their children as well as families by holding burning Malsas on their palms and heads. It is a glorious moment to watch. The family follows Vaisnav philosophy where animal sacrifice is prohibited. The idol that we worship is known as abhaya murti and has two hands instead of ten. There are also two lions facing each other and pouncing on a lump of flesh, explained Kanailal Dhar. The mansion today is divided into three parts because of family partitions. Each part receives a turn to organise the Puja. The Dolbari was being enlighted the Jharbaati, where, the eminent personality like Netaji Subhas Chandra Bose, Kanon Devi used to come here .Shri. Purno Chandra Dhar was started the Koolutola Haribhakti Prodayini Sabha whereShri Shri Ramakrishna Deb visited the thakur dalan during a religious discussion.

Bhowanipore Mitra Family

Kalidas Mitra is termed to be the founder of Mitra Family. Pious in nature and religious minded, Members of Mitra Family started Durga Puja around1757 A.D. Subodh Chandra Mitra, renowned Attorney-at-Law, (26th generation) started Durga Puja in 1892 A.D. at his residence at 13, Paddapukur Road, Kolkata 700020 with pomp and grandeur. On demise of Subodh Chandra in 1926 A.D. the performance rested on his Sons Sukomal Chandra, Sunirmal Chandra and now on his Grandsons Sukhamoy Chandra, Sudhamoy Chandra and their Cousins (all in 28th generation). The entire Puja is handled with the directions laid down in Family Puthi (Script). On Ratha Jatra day Kathamo, the built-in frame for Pratima, is worshipped and then the Kumars (Artists) from Kumartuli come to build Images (Pratima) at the Mitra Barir Puja Mandap. The image of Mother Durga here is somewhat special and different.

Only Two hands of Mother Durga is visible to people, the other Eight hands, smaller in size, are kept hidden by long Hairs. Thus Mother Durga appears to be Dwibhuja at Bhowanipore Mitra Family. It is known that this is on account of a "Swapnadesh" (order through Dream) to someone in the Family who seems to have offered only Two Gold Bangles to Mother. The Mother again came in Dream and was cheerful and decided to be worshipped in Mitra Family in the said order and style. Here Lion is having its head which looks very close to Horse and painted all white with manes and moustache in black. Ganesh and Kartick wears Than, Dhuti and Chaddar made of Cotton. Lakshmi and Saraswati do not come with their Bahans (Carriers) but instead stands on Lotus Flowers.

After the decoration is completed by the Kumars (Artists), the Dieties are further individually decorated with Gold and Silver Ornaments, Weapons, Instruments etc meant and preserved for them by the Family. In olden days Puja used to start from Pratipad but at present from Panchami day. The Bodhan is held at Thakurghar, the Pratima Puja is celebrated at Puja Mandap. This grants access to Public to watch, Worship and offer Prayers. With start of Puja on Saptami morning, the Member of the Family in whose name Puja is conducted (Sankalpa) authorises Purohit to perform worshipping, on his behalf. He has to remain in fast for the whole day till end of Aarati in Evening and can take only Bhog offered to Diety. Previously Sankalpa was conducted in the name of Supriyo (29th generation) but for past few years in the name of Suprit and now of Subrit Mitra (both in 30th generation). On Saptami morning Kalabau is taken for holy Bath, on the Mandap itself (instead of at Ganga Ghat like other family Pujas, as being considered as Family

Daughter-in-law and cannot go for outside bathing), with various Ingredients, Perfumes etc and Sacred Waters collected from various Rivers of India. After a Befitting Dress, Ornaments etc she is attached to the Pratima, next to Ganesh for worshipping. Like Kalabau, Griha Lakshmi is placed close to the Pratima for daily worshipping. With the start of Puja a big Earthen Lamp is lit with Ghee made of Cow-Milk, and kept inside a large Earthen Vessel. This Lamp is kept non-stop burning till the end of Puja on Dasami. On Dasami the Earthen Vessel is filled with Ganges Water mixed with Termuric and placed in front of Pratima in such a position, it helps to reflect the Body of Mother Durga, from Face to Toe, to indicate the complete Immersion of the Image worshipped. Mantras specially meant for the occasion are chanted while this process of immersion continues. Offering of 1008 nos. of Billapatra absolutely Clean, Clear, Untorn and Spotless are made in Homagni from Saptami to Navami days at the Jogyakundu. The log of Wood is kept burning during the specified period under vigilant watch. Being non-Brahmins, the Mitras dont have Annabhog to offer in the Morning but instead a Sital (which includes Luchi, Vegetables fried in Ghee, Curd and Sweets) is offered in the Evenings on the Puja days. Worshipping Kumari Puja on Aastami and Sadhaba Puja on Navami are performed by the Women folks of the Family. Sandhi Puja, a 'must' Puja is performed at the juncture of Astami and Navami, within limited period for 48 minutes. Various articles for use of Mother Durga, including Sari, Bangles, Perfumes, Utensils, Beddings Naibedya (with all kinds of Fruits and Sweets etc) are offered on this occasion. A set of 108 Oil Lamps (in Earthen Pots) are lit at the time of this Puja. Also offering and worshiping with 108 Padma (Lotus) Flowers is a must. In earlier days Buffaloes and Goats were slaughtered in front of Mother Durga in the Courtyard and offered to Her as Puja. This process has been discarded in 1924 A.D. with change of time. However the items continue with cutting of Akkh, Coconut and Chalkumra. On Dasami with chanting of Mantras Aparajita Creeper is tied on the Hands of all Dieties and then to all Members of the Family from Old to Newborn, Male and Female.

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On evening of Dasami after different Rituals and Sindur Khela by the Women folks of the Family, Pratima is carried to Ganges River for actual immersion. The Frame is taken back Home and kept reserved for use in next year.

Dutta Bari Thanthania

The founder of well known Shib-Durga Puja at Dwarika Bhawan is the great Dwarka Nath Dutta. He was a believer of Shib and prefers peace rather than power. Once Dwarka Nath Dutta dreamt a dream of Hara Gouri Murti. Soon he established the Shib-Durga Puja in 1855.The then Prabhakar , a well-known Bengali magazine , edited by Shri. Ishwar Chandra Gupta, remarked that In Thanthania Dutta Bari, the Durga Puja was one of the three leading autumnal ceremonies where Shaibs were entertained and Nauches heig htened the pomp and clat. The grand Durga Puja has been celebrated by the successors of Dwarka Nath Dutta since about 158 years. The Durga Puja of Dwarika Bhawan is unique with its traditional approach. Here Durga maa is emerged with smiling face( Mrinmoyee). On the left of Maa Durga , Kartika and Saraswati are being articulated and on the right , Laxmi and Ganesh exist.. The decoration of the Durgadalan, puja rituals are distinct in style.During the time of the great Dwarka Nath Dutta , this puja had been observed with spectacle and dignity . Although, the lavishness of puja has faded away a bit, but yet in term of sanctity and devotion, this puja is being top listed by the quality viewers. In the recent time, West Bengal Tourism organize Puja Parikrama with top five Baroari pujas along with five heritage pujo of Bonedi Bari. The puja of Dwarika Bhawan is enlisted on top of the table. As per tradition, Dutta family observes Durga puja for ten days. Her arrival starts the Devipaksha. The day is being observed as 'Mahalaya', the day of invocation. In the dark night of amabasya, people pray to Goddess Durga to arrive in the earth to ward off all evils. On the dawn of 'Mahalaya', homes in Bengal resonate with the immortal verses of the Chandipath. On Sashti, when Goddess Durga is welcomed with much fanfare and gusto. Look for the 'Bodhon' rituals when Goddess Durga is unveiled. The priest ceremonially establishes life in the clay image and from now on till the tenth day, the image is treated as the goddess herself. Saptami is the first day of Durga puja. Kola Bow or Nabapatrika is given a pre-dawn bath. This is an ancient ritual of worshiping

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nine types of plants. They are together worshiped as a symbol of the goddess. The main Saptami Puja follows Kalparambho and Mahasnan. The Maha Ashtami commences with Ashtami Puja, followed by Arati and Puspanjali. The a special ritual takes place, i.e Dhuno porano, where the married women hold burning Malsas on their palms and heads, praying for the peace and prosperity of their children as well as families. People from all around the corner of Kolkata witness this august celebration. During Sandhi Puja , the entire courtyard of Dwarika Bhawan is filled with hymns of spiritual Mantras. In the olden time, Dutta family used to give Noibedya with 14 monn (560 kgs) Atap Rice and 5 monn grinded sugar, now the present generation give 5.25 kuintal (525 kgs) Atap Rice and 1 kunital grinded sugar. During the time of high price of the essential commodities, how Dutta family manages to afford these? Mr. Sujit Kumar Dutta, one of the successors of Dwarka Nath Dutta intimated We have completed our 156th Durga Puja Celebration and this has become possible because of the blessing of our Kuldevta Sreedhar Jeu and obviously by the grace of Maa Durga.

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Seal bari Chorbagan

History stands witness to another famous Durga Puja that was started about 150 years ago by Babu Ram Chand Seal. Initially from Gutiabazar of Hooghly, he shifted to Calcutta in the year 1849 and acquired properties in Chorbagan. A successful businessman Babu Ram Chand Seal imported clothes from Manchester and exported rice, mercury and vermilion to various countries in South-East Asia. He was a religious man and was a great devotee of his Gurudev(religious master). At the inspiration of his second wife, Khatramani Dassi he first organised Durga Puja at his master's residence at Goswami Lane, Bagbazar in Calcutta. For five consecutive years Durga Puja was performed here. In the year 1856 Ram Chand started Durga Puja at his residence at Chorbagan. Since then his descendants perform Durga Puja.

The Seal family Durga Puja is performed traditionally with great devotional fervor. Old rituals following "Brihanandikeshar Puran" are performed. The Seal family follow Vaisnab philosophy. So fruits or animal sacrifices are not offered to the Goddess. The first shape to the beautiful Durga Goddess is give form on the auspicious day of Rathajatra in the month of June/July every year. All forms of articles and goods needed to perform the rituals are bought on Radhastami day in the month of August/September every year. On this day, shops are put up at

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the premises of the residence. Vendors sell vermilion, conch-shell bangles, Lac bangles and other traditional cosmetics. Bodhon commenses on the day after Mahalaya and continues upto Sasthi. The puja is performed by five pujaris. In addition to the traditional puja on Saptami, Astami, Navami and Vijaya Dasami, Kumari and Sadhoba pujas are performed on the Navami day. On Astami the holy cow is worshipped in addition to a special puja at the Ganges. Each day of the festival has one member of the family offering flowers made of gold to the Goddess. On Dashami immersion of the Goddess Durga takes place in babughat but before the immersion a symbolic ritual is performed. A mirror image of the devi is glimpsed in a tub full of water that is placed in front of the deity. Years ago the immersion took place in Karunamayi in Tallygunge. After the immersion the purohit (priest) visits all the sariks (nuclear families) of the Seal family to sprinkle holy water. On the occasion of the Puja, the evenings are filled with performances by the members of the family. Generally dances and short plays are staged for the entertainment of the entire family as well as those who come visiting. Offerings of the Sandhi puja are sent to the family of Gurudev of Ram Chand at Bagbazar. Since the family follow the vaishnav philosophy they abstain from taking non-vegetarian food from Mahalaya to Vijaya Dashami. Dolutasav is another festival which has been zealously performed in the family since 144 years.

Mitra Bari - Dorjipara

In the year 1807, Radha Kisen Mitra, one of the famous trade merchants, who has done business with US, performed the first Puja in his Darjipara residence. The Mitra family of Darjipara (Presently mkown as Nilmoni Mitra Street) is one of the few families in Kolkata that have celebrated traditional Durga Pujas for the past 200 years and more.

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The idol in Mitra family is unique as its the Ekchala Durga idol with its separate Teenchala backdrop mounted on a horse with a lion-like mane to kill the Mahisasur. A family member of the present time says that they have following the same rituals as their founder did. But the rituals of releasing Neelkantha bird during immersion have been discontinued due to the ban of keeping birds in the cage.

SABORNO DURGA PUJA

The family of Saborno Chowdhury hailed from Hali of Naihati and later settled in Birati and finally migrated to Barisha in Calcutta. Pratapadita was an able ruler of Bengal then but he turned out to be very proud and corrupted. Basanta Ray was his uncle, who affectionately brought up both Pratap and

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Lakshmikanta. He gave them lessons to run zamindari and other important administrative inputs. Lakshmikanta grew up to join the administration at Jassore and proved a worthy ruler. Jealous Pratapaditya murdered his uncle near Budge Budge to claim himself to independent. Disheartened and aggrieved Lakshmikanta resigned from the royal service and returned to Kalighat. Mansingh, the powerful Mughal general was sent to Bengal. He was aware of Pratapaditya's power and knew it was not easy to defeat him in warfare. Mansingh was a disciple of saint Kamdev Brahmachari (Lakshmi's father) who blessed him to punish Pratapaditya. Mansingh defeated Pratap and requested Lakshmikanta to ascend the throne. But Lakshmi refused. Bengal fell into the hands of Mansingh. Lakshmikanta Ray Mazumdar and his associates got large acres of land (eight parganas) as gurudakshina from Mansingh. He also made Lakshmikanta 'Jaigirdaar' in 1608.Lakshmikanta Ray Mazumdar was the famous zamindar of the Ray Mazumdars. They were known as the Ray Mazumdars before they got the 'Choudhury' title and their 'gotro' was Saborno.Thus Durgapuja held by them was known as 'Barisha Saborno Ray Choudhury Durgotsav'. Older than Calcutta, their household Durga puja was said to have started since 1610 by Lakshmikanta Ray Mazumdar. They had seven durga pujas in their family, six at Barisha and another at their Birati Bari.

Under the 'Aath Chala'(the courtyard with eight pillars and a roof top and with no walls), Calcutta, Sutanuti and Govindapur were sold to East India Company at an amount of Rs.1,300. The legal document has the signatures of Roop Chand Mazumdar and Manohar Mazumdar and Charles Iyer, Job Charnock's son-inlaw. Antony Kobiyal's grandfather was also present as one of the witnesses.The

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flavour of a zamindar household puja can be felt even today if one wishes to visit the Chowdhurys of the Saborno family during the Durga puja. The Durga Puja of the Saborno household is famous because of its traditional rituals and great devotional fervor. The wooden frame work of the Durga idol still exists along with the three 'Chalchitra' (the intricately designed background). The Saborno family has no rituals of 'Nilkontho'. But there was a ritual of Kumari Puja at that time. The puja at Baro bari and Birati Bari performed Kumari Puja. Sacrifice of buffalos and goats are an existing ritual in the family. Besides, 'chalkumro', sugarcane, mashbhokto (combination of rice, banana, cloves and ghee) are also offered for sacrifice. The devi is worshipped in her 'Chamunda' form during 'Sandhi Puja'. End of Ashtami and the beginning of Nabami is the time for Sandhi Puja. It was at this moment Devi Durga took the form of Devi Chamunda to kill the Mahishasura (the Buffalo Demon). On Dashami immersion of the Goddess Durga takes place in babughat. Before the immersion a ritual is performed. The mirror image of the Devi is seen in a tub full of water which is placed in front of the deity. Years back immersion of the Goddess was done in Tallygunge's Karunamayi. After the immersion the purohit (priest) visits all the sariks (nuclear families) of the Roy Chowdhury family to sprinkle 'Shantir Jal' (holy water).

Durga Puja of the Mukherjee household

Durga Puja of the Mukherjee household started about 277 years ago. Ishwar Jagat Ram Mukherjee was the founder of the Durga Puja of the Mukherjee household. Jagat Ram's daughter was insulted at her maternal uncle's house where she had gone to join in the celebrations of Durga Puja. In the next year Jagat Ram's daughter saved money earned by selling broomsticks to her father to perform Durga Puja. It was first performed on the 'Ghot' and later on shifted to 'Pot'. About 100 year ago Ishwar Jadunath Mukherjee made a Durga Idol of gold. Durga Puja in the Mukherjee household and that of Krishnagar's Royal family is conducted according to the same scriptures (Puthi). The Lion's face resembles a horse. The Chalchitra has Lakshmi, Saraswati, Ganesh and Kartik. It is made of

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an alloy of eight metals. Beside yhe idol of Durga her 'sakhi' (companions) were also present until 60 years ago when they were stolen. Their place still remains empty. The ritual of sacrifice is performed on Nabami. They sacrifice goats at the alter of the Goddess. Symbolical sacrifices of sugarcane and pumpkins are performed too. With vermilion a human figure is drawn on the pumpkin, which is then sacrificed. Kumari Puja and Sodhoba Puja are performed on the Nabami day. Members of the family play with mud on this day. Immersion of the Goddess is unique at this househod. The 'Kala Bow' or the nabapatrika is immersed in the water. Before immersion the idol of the Goddess is covered with a red cloth. After immersion the red cloth is removed.

Mitra Household (Padda Pukur) Durga Puja

Durga Puja of Mitra Household of Poddo Pukur is 150 years old. It was first started by Kailash Mitter. It is a '3 Chala' devi murti. Goddess Durga has two natural hands and the rest of the eight hands are short and on the shoulders. Laxmi and Saraswati have no appurtenances (bahanas) and are seen on the lotus. 1008 'bel pata' (wood apple leaves) and 108 lotus are needed during Sandhi Puja. Every day 200 'bel pata' are offered to the Devi. The ritualistic bathing of the 'Kala Bow' is done at the residence itself. The frame work of devi Durga is worshipped during Rath Yatra. This frame work is then used for making the idol. After immersion of Goddess Durga this framework is taken back and is again used for the year after.

Chatu Babu Latu Babu Durga Puja

At his Beadon street residence, Ishwar Ram Dulal Deb (Sarkar) from the year 1770 started organising Durga Puja. This puja was later on popularly known as Chatu Babu Latu Babu. Since 1780 his family members actively participated in organising the Puja.

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The Durga Puja rituals of the Deb familyThe 10 day Puja that begins with pratipad till Sasthi, the sixth day, puja is performed on the 'Ghot' without the idol. On Saptami after the 'Kola Bow' ritual, idol worship begins. The wooden framework of the Goddess Durga's idol is worshipped on 'Rath Yatra' which is then used for the main frame of the idol during Durga Puja. Along with the wooden frame, the 'Chalchitra',the intricately designed background is equally important. The top of the chalchitra is divided into 3 parts (Motchauri). This 'chalchitra' has a lotus on which both Jaya and Bijaya, Durga's 'sakhi' (companions) can be seen. Behind them one can also see Shiva, Ram and Hanuman. The lion has the head of a horse and along with the whole image is the chopped head of the buffalo and the Asura. Animal Sacrifice Animal sacrifice stopped within two years of Durga Puja celebration while vegetables and fruits such as chalkumro, sugarcane are ritualistically as well as symbolically sacrificed known as Ripu boli continues till date. The ritual of animal sacrifice was stopped by Ishwar Ram Dulal Deb himself after an incident which moved his heart. It was on the Ashtami day when the goat was brought for sacrifice, frightened it ran to Ram Dulal to seek shelter at his feet. Moved by its plight Ram Dulal at once stopped the ritual. The Nilkontho Ritual

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The Deb family has the ritual of 'Nilkontho'. 'Nilkontho' is a bird as dark as a Kuck-koo or sometimes grey in color. It's neck is golden or chocolate in colour. Its feathers are blue and its back is blue too. Just before the immersion of the Goddess on Dashami, two 'Nilkontho' birds are set free. It is said that one of them goes to Kailash to inform the arrival of Goddess Durga while the other bird comes home to inform the members of the family about the safe departure of the Goddess.

Sobha Bazar Rajbari Durga Puja

Sobha Bazar Rajbari Durga Puja is performed in both the houses the family owns set adjacent to each other. "Baghbari" owned by Gopimohon Deb was constructed after the original residence was made by Raja Nabakrishna Deb. Raja Nabakrishna Deb was the famous exponent of Hinduism during the Brahmo Samaj Movement by Raja Rammohon Roy. It was in the year 1757 after the Battle of Plassy, Durga Puja was initiated.

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Rituals of Sobha Bazar Raj Bari Durga Puja at the Rajbari commences on the Rath Yatra day when the the wooden frame work of the idol is worshipped. The Durga idol is made inside the household. Bodhon starts 15 days before Nabami. For the Deb family, Goddess Durga is no one other than the daughter of their household idol, Gopinath Jeu. The 'Ek Chala' Goddess is decorated with ornaments made of silver foils known as 'Daker Saaj'. The silver foils which were imported from Germany came through post meaning 'dak' and thus the decoration came to be known as 'Daker Saaj'. The idol of Sobha Bazar Raj Bari is adorned with gold ornaments like nose ring and 'bindi', the only metal used. The rituals of Belbaran (Amantran Adhibash) on Sasthi breathe in life in the Goddess.This famous and glamorous Puja of Calcutta had Canons fired at the time of Sandhi Puja. But today cannons have replaced guns. Debs' perform a ritual called "Kanakanjali". Gold coins dating to the time of Akbar's reign were thrown at married women with children. The Bisarjan ceremony (Immersion) Tarpan, a ritual performed to let the dead ancestors know of the Puja is performed in the Dashami morning though immersion takes place in the evening. The Bisarjan ceremony (Immersion) is a spectacular affair.Women dress in red and white saris while men wear dhotis carrying seven golden umbrellas. A musical band play along and two Nilkantha Birds are released. Around 60 men lend their shoulders to the goddess on her way to the river. Previously the band was hired from Scotch Highlander (Gorar Baddi).The myth behind the release of Nilkantha Birds is interesting. The first Nilkantha is set free to go to Kailash to convey the message of Devi Durga's departure to Shiva. The other Nilkantha bird is set free in the middle of the river to ensure the message has been conveyed in case the first one fails. The holy water collected after the immersion is called "Gana shanti jal" which is sprinkled on everyone present.

Bishu Mukherjee Bari Durga Puja

Sriharsha and Utsaha were two of the five Kanauj brahmanas invited to settle in Bengal. Their descendent Manik Chandra Mukhopadhay around 1852 started Durga Puja in the family.

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The tradition was carried further during the time of his grandson Bisheswar Mukhopadhay. It is said that Bishu Mukherjee's offering to the diety extended to the arrangement of "aunno meru" (piled up rice hills) decorated with trees of gold and silver fruits. The wooden framework of the idol is worshipped the day after Janmasthami. It is decorated with vermilion. The face of the lion in the idol resembles that of a horse. Mahisashura without the buffalo is placed at the feet of Durga. "Ghot" puja starts on Sasthi. It is on this day household idols of Sridhar and Baneswar are placed below the wood apple (bel) tree. After rituals pertaining to the Ghot, women of the family welcome the Goddess or perform "Boron". On the day of Asthami both "Kumari Puja" and "Sodhoba Puja" are performed with full propitiousness. It was years ago when two astonishing occurrences distinguished Bishu Mukherjee Bari Durga Puja from others. On one occasion when the vermilion was offered in a brass plate before the goddess,family members found marks of Goddess's feet on the plate the next morning. On another occasion they found footprints of a woman, animal paws and marks of kharom (wooden slippers) on the floor leading to the storeroom while decorating the offering plates for the goddess.

Hatkhola Dutta Bari Durga Puja

Durga Puja of Hatkhola Dutta Bari Puja started in the year 1716. Later Ishwar Deb Prasad took charge of performing this Durga Puja in the year 1763 or 1764. In the month of Aashar during 'Shukla Nabami', the frame work of the idol is worshipped, which is later used for the making of the idol. The 'Bodhon' rituals continue for 15 days. The 'Chalchitra' is divided into three parts. On the upper right side of the 'Chalchitra' is the painted image of Radha Krishna while at the bottom is the image of Chandi of 'Nishumbha' war. On the upper left side of the 'Chalchitra' is the picture of Ram and Sita while at its bottom is Chandi in her 'Shumbho' form. At the top middle of the 'Chalchitra', is the image of Kali and at the bottom is the painted image of 10 avtars of Vishnu. On the curved frame work of the 'Chalchitra' are 2 parrots. Towards the idol of Lakshmi on the

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'Chalchitra' is the image of Shiva on an ox while towards the idol of Saraswati is Ram and Hanuman. Durga's appurtenance, the Lion has a horse face. Vegetable and fruit sacrifices (Ripu Boli) are still prevalent in the Hatkhola Dutta Bari. This family too has the 'Nilkontho' ritual. Similar to Chatu Babu Latu babu',the only difference being, one of the birds are set free on the day of immersion while the other one is let out after the immersion. It is considered a good omen when the second bird flies homeward.

Mukherjee parivar(Dum Dum)Durga Puja

Durga puja of Mukherjee parivar started about 150 years ago, in 1263 (according to the bengali calendar). Late Gopal Krishna Mukherjee was the pioneer of this puja in his household in undivided India. The family having migrated the Durga Puja is now celebrated in Kolkata.

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Unlike traditional position of the Goddess with her children, the Durga pratima of Mukherjee parivar has Lord Ganesh on her left side while Lord Kartikeya on the right side. The idol is of 'akchala' pattern. The idol of the Goddess is made in the 'thakur dalan' (open courtyard where the festivity is held)of the household. 'Chakhudan', the spectacular ceremony is always held on the day of Mahalaya. There is a ongoing tradition of goat sacrifice on Saptami and Navami. Beside, gourds, cucumbers and sugarcanes are also sacrificed all four days of the puja. 108 lamps are lighted at the time of Sandhipuja. It is one of the most important rituals of the household. There was also a practice of releasing Nilkontho bird but according to the government act it is forbidden now. On dashami, the male members of the family are revered by the 'barondala' of the Goddess . It marks a new beginning for a prosperous and happy future.

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Bhowanipur Mullick Bari Durga Puja

The Mullick Bari Durga puja started from the time of Nawab Husen Shah of Bengal nearly around 15th century AD. Suratha at Srikhanda pioneered the puja. In the 19th century the puja was shifted to the Masjid Bari Street of Calcutta by Ishwar chandra Mullick. Later the Mullicks shifted to Gupti Para and finally settled in Bhowanipur. Since 1925 Durga puja is held at the Bhowanipur residence.

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The idol is worshipped in "Ekchala" form. There are two different locations in Mullick bari where the puja rituals are performed. They are "Annapurna dalan" and the other "Durga Dalan". Mullicks are basically Vaishnavas and practice no rituals of animal or vegetable sacrifice. Over the years it has been one long tradition for the patuas of Bhowanipur to make the Durga idol for the Mullicks. The family takes vegetarian food from Sasthi to Nabami and its only after the immersion of the idol on Dashami they prepare non-veg food. They do not offer rice offerings to the goddess, instead preparations of wheat are offered. After immersion, according to custom of the house, the eldest family member serve "siddhi" to the rest of the family and bless them with "Astadurba" or eight varieties of grasses.

Laha Bari Durga Puja

Traditional Durga Puja being performed in families for years have interesting annecdotes which led them to initially start the Puja. It is said that the Laha Bari Durga Puja, one of the famous Pujas of Kolkata started some 170 years ago. Some say it was Ishwar Pran Krishna Low (pronounced as Laha) performed Durga Puja for the first time but another view point states that it was Sri Rajiblochan Low, Pran Krishna's father, who started it nearly 200 years ago. Spiritually inclined Rajiblochan Low, was said to have been visited in his dreams by his family Goddess who asked him to perform Durga Puja. The descendants of

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his three sons Pran Krishna, Naba Krishna and Bata Krishna continue to perform the puja in turn. Unique form of Goddess in Laha Bari You will not find the common form of the Goddess gracing the Mandap but an unique form of the Goddess can be seen which is the speciality of the Laha Bari Durgotsav. Here Durga is seen in the arms of Lord Shiva and her eyes are closed shut. The reasons being, Mother Durga bestowed a lot of wealth to the Low family.

Some unique rituals The rituals commence on Saptami morning when the family idol, Jaya Jaya Maa arrives at the Natmandir. Goddess Durga is considered as the other form of this household goddess. Animal sacrifices are not performed but vegetable and fruit sacrifices are done. On Dashami the Goddess is not carried on the shoulders as is done traditionally during immersion but she is carried in the arms of men who have been performing this task as a part of family lineage. An interesting Annecdote On Dashami, the day of immersion, the main gate of the Laha Bari remains closed. It is only after the immersion when someone calls out to the Goddess

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thrice from outside to ensure whether she is still there, the door is opened. This traditional ritual has an interesting anecdote to reveal. It was in the fourth generation of the family, Ishwar Durga Charan Low, who was washing his face after the immersion of the Goddess was continuously disturbed by a little girl looking for some alms. Unable to complete his bath peacefully he shoos the little girl away but later when he looks for her to perhaps give her something he finds her nowhere and found the main gate open. He believed that the little girl was no one but Goddess Durga herself.

Pathuriyaghata Durga Puja

The 160 year old Pathuriyaghata Durga Puja was first started by Ishwar Ram Lochan Ghosh. The idol is of 'tin(3)-chala' pattern. It is a traditional (Sabeki) styled Durga idol decorated with 'Dak'. The Lion is white in colour with black mane and a face of a horse.The frame work of the idol is worshipped during 'Rath'.The dhakis and artists are from families with the same lineage. Sacrifice of goats was an important feature of the family. But about 70-80 years ago a member of the family fell ill and miraculously survived. Since then the ritual of sacrifice was stopped. Kumari Puja is performed on both Sashti and Nabami. Sadobha Puja is held too. Immersion, years ago was done on two boats. Immersion is done by carrying the idol on the shoulders. 'Nilkontho' birds are set free.

Basumallick Bari, Pataldanga

The lion is perhaps one of the most interesting features of the Puja in the Basumallick home near Sealdah. For, its not really a lion and takes the form of an animal that has the body of a horse and the face of a dragon. An explanation is that early idol-makers referred to the description of lion in Chandimangal and gave the majestic creature their imaginative touch. Another interesting ritual of our house is the kadamati khela in which men (from the family and visitors) participate after the symbolic sacrifice. They play with clay and mud and dance to the beat of dhaak to commemorate the triumph of the gods over the demons, says Ashokendra Basumallick, a member of what is considered the sixth generation of the family.

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Khelat Ghoshs House, Pathuriaghata

Here, the Nabapatrika Snan ritual is held at the family natmandir and not by the Ganges, as is the usual practice. This ritual is always held at home because the women in our family never ventured out in the past. Though times have changed, we have retained the tradition, says Pradip Ghosh, head of the family. The family also uniquely worships Lakshmi and Saraswati as Kamala and Kamini two other forms of Durga. During Ashtami, a math (sweetmeat) made of matha chini (a kind of sugar made in Varanasi) is symbolically sacrificed.

Ghoshbari
Sandhipuja may be the norm for a majority of Calcuttans on Ashtami, but not for the Ghose household in Ghosh Lane off Vivekananda Road. Instead of offering Sandhipuja prayers, the family thats celebrating its 154th year of Puja this year gathers for Kalyani Puja in the morning and evening. This tradition was started by the family patriarch Girish Chandra Ghose. The story goes that on this day Ghoses guru died during Sandhipuja. Ever s ince, the practice of Sandhipuja was discontinued and Kalyani Puja is held to seek the blessings of the goddess, says Arkaprovo Ghose, a seventh -generation member of the family.

Dawnbari, Darjipara
If you visit Jagannath Ghat in Baghbazar on a Saptami morning to witness the Nabapatrika Snan (bathing), youd be greeted by a quaint sight. Dont be surprised if you come across a procession carrying Kalabou (considered by some as Lord Ganeshas wife) under an opulent velvet umbrella thats embellished with gold jari-work. This is the Dashavatar umbrella thats been part of the Dawn family Puja since its inception in 1840, says Asim Dawn, the family head.

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Nostalgia Express

When was the last time you woke up to the sound of a dhak? For me, it was nearly thirteen years back. My memories of celebrating the autumn festivities cannot be dissimilar to anyone from the Calcutta of 80s and 90s. Cacophony created by conch, dhak, human voice, Pujobarshiki, street food, new clothes, lights, endless talking, long walks made up an exciting month of celebration that included Durga Pujo, Laxmi Pujo, Kali Pujo and Bhaiphonta. Notwithstanding the similarities, we all love to talk about our memories to identify a few events, a few people, and a few places that made the festive season unique for us individually. My festive season started with the arrival of Pujobarshiki, some fifteen days before Durga Pujo and concluded with Bhaiphonta. In between, other than the one-off unusual day of being inside home I was mostly outside basking in the glory of the autumn weather and celebrations all around. While I did everything that any other kid of my age did on the Pujo days, my time spent at my Pishimonis house at Sodepur on Bhaiphonta was indeed special. Out of all other days, I looked forward to Bhaiphonta the most. Sodepur is a town in North 24 Parganas district of West Bengal. In making Sodepur such a memorable place for me, my elderly aunt and her late husbands contribution are immense. My aunt is much older than my father and fondly I call her Pishimoni.

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On the day of Bhaiphonta, early morning my father and I, dressed in good clothes would take the train from Sealdah railway station towards Sodepur. The event of Bhaiphonta concluded the autumn festivals, and accordingly the streets had the signs of Kali Pujo that has just gone by. Train journeys were always exciting. We would try and take a sit by the window, to get the best view possible. Most Bengali brothers boarding the train wore the traditional attire, including my father. Sodepur was half an hour train ride from Sealdah station. We would take rickshaw from the railway station and make our way to Pishimonis house. On our way, we will pass Sodepurs famous cowshed. The owners of the cowshed organized Kalipujo and the idol used to be taller than normal. We would stop by to catch a glimpse of the unusually tall goddess. Pishimonis house had a yard, a pond and lot of fruit bearing tree s around. It was one of those houses, where you would cross a little field to get to the door. As soon as we arrived at the gate someone would see us from the window and would soon be at the door to welcome us. Mostly it would be either Pishemoshai (my Pishimonis husband) or his younger brother. Pishimoni lived in a joint family of nearly fifteen people or even more. On the day of Bhaiphonta, six of her brothers (three lived outside of Calcutta, so would not make it every year) would join those fifteen making it a full house. All would gather in Pishimonis bedroom for the actual event. All looked glorious wearing white traditional attire. Ours was an academic family and hence my father and his brothers discussed their childhood, literature, politics and mostly things that did not interest me at that age. However, my cousin sisters and brothers who were much elder to me ensured that I was occupied as well. All of them were at least ten to fifteen years elder to me though! Pishimoni used to be busy cooking while Pishemoshai, played the host attending to the guests. As I recollect those days, as if I can see those people in front of eyes. As if time has stood still. My elderly uncles, all with their robust voices talking to each other, my short-statured ever-smiling Pishemoshai, looking after everyone, and Pishimoni busy cooking!!!! Traditional food and sweets were served and as if I could still hear Pishemoshai asking everyone, mach ta theek acche to? (Is the fish good?)

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I am not sure whether any other tribe celebrates a brothers day as we do in Bengal. Growing up as the only child, my time spent at Pishimonis house on the day of Bhaiphonta brought me closer to my culture but most importantly brought me closer to my family. Things have changed now. Pishemoshai is no longer with us; two of my elderly uncles have passed away too. A host of people who lived in that house that time has passed away as well. Pishimoni, my other uncles and my father have grown old too. The town and the house at Sodepur have changed too. Sodepur is a bustling town today with fewer trees and hardly any open spaces at all. Pishimonis house neither has the pond, nor has the big yard. Changes that I could not anticipate twenty-five years back have taken place in the surroundings to the house. However, the event still remains. My uncles, my father and Pishimoni still meet on the auspicious day. I cannot make it to the event any longer but I enjoy the celebration in my mind space. I dont have to take the train to Sealdah to reach there. As soon as sticks hit the Dhak, I board the nostalgia express that takes me to the time that I left behind, brings a smile to my face and creates stories that I could tell to my son. I wish all good health this festive season. Tanmoy Chakrabarti

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Pursuing the search of Bengal in New Zealand Touch of Motherland in the foreign soil
Howrah Bridge in West Bengal, India
The Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu, after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

Harbour Bridge in Auckland, New Zealand

The Auckland Harbour Bridge is an eight-lane box truss motorway bridge over the Waitemata Harbour, joining St Marys Bay in Auckland with Northcote in the former North Shore City, New Zealand. It is part of State Highway 1 and the Auckland Northern Motorway. The bridge is operated by the New Zealand Transport Agency (NZTA). It is the second-longest road bridge in New Zealand, and the longest in the North Island.

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Hilsha Fish of West Bengal, India

Hilsha or Ilish is a popular fish to eat among the people of South Asia. As it is anadromous in nature (an uncommon phenomenon in tropical waters), it lives in the sea for most of its life, but migrates up to 1,200 km inland through rivers in the Indian sub-continent for spawning. Each year a large number of fish are caught in the Padma-Meghna-Jamuna delta, which flows into the Bay of Bengal. In Bengal, ilish can be smoked, fried, steamed, baked in young plantain leaves, prepared with mustard seed paste, curd, Begun (eggplant), different condiments like jira and so on. It is said that people can cook ilish in more than 50 ways. Ilish roe is also popular as a side dish. Ilish can be cooked in very little oil since the fish itself is very oily. In many Bengali Hindu families a pair of Ilish fishes bought on special auspicious days, like some pujas. It is considered auspicious to buy two Ilish fishes on the day of Saraswati Puja, which takes place in the beginning of Spring and also on the day of Lakshmi Puja (The Goddess of Wealth and Prosperity) which takes place in autumn. But this custom is prevalent mainly among the Bengali Hindus of former East Bengal many of whom now live in West Bengal, Barak Valley in Assam and Tripura in India after the Partition of India. Some of them give Ilish fish as an offering to the goddess Lakshmi, without which the Puja is sometimes thought to be incomplete.

Salmon Fish of New Zealand

Salmon is the common name for several species of fish in the family Salmonidae. Other fish in the same family are called trout. Just like Hilsa, salmon are anadromous: they are born in fresh water, migrate to the ocean, then return to fresh water to reproduce. However, populations of several species are restricted to fresh water through their lives. Majority of Pacific salmon are wild-caught

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(greater than 80%). Canned salmon is usually wild Pacific catch, though some farmed salmon is available in canned form. Smoked salmon is another popular preparation method, and can either be hot or cold smoked. Lox can refer either to cold-smoked salmon or to salmon cured in a brine solution (also called gravlax). Traditional canned salmon includes some skin (which is harmless) and bone (which adds calcium). Skinless and boneless canned salmon is also available.

Santhals of West Bengal, India

The Santhals are the largest tribal community in India, who live mainly in the states of Jharkhand, West Bengal, Bihar, Odisha, and Assam. The Santhals belong to the Proto-Australoid group, and may have arrived in India soon after the Negritos. The name is given because of the similarity of racial type with Australian tribes. The Santhals are short in stature, and among them the broad flat nose with a sunken nose ridge is fairly common. They frequently have wavy hair; sometimes it is curly, though it is never frizzy. They share all these characteristics with other primitive tribes in the same group. The name of the tribe is Santhal, and the language spoken by them is Santali. Profession The Santhals are an agricultural tribe, from time immemorial they have cleared forests, toiled the land, and produced food for subsistence. Santhal laborers were considered very efficient and they easily found employment in coal mines. Beside agriculture they also domesticate animals like cows, buffaloes and pigs. Apart from these the Santhals also are well versed in the art of hunting, where their exceptional skills with bow and arrows are noticeable. After the ban on hunting by the Government of India, the Santhals do not get chance to practice their archery skill but recently a new venture of organizing village level archery competitions during festive seasons has given a chance to culture this unique legacy. Those adopted and educated by the Christian missionaries were in a better position. There were a few Santhals in Government jobs holding high posts, the Santhal Deputy Commissioner, the village Heads, the Darogas, musicians and the teachers. Santhals have taken up profession in every field. There is good number of Santhal doctors, engineers, government servants, the opening up of new avenues after the arrival of the Christian missionaries, and the English education have changed their lifestyle and made it typically urban.

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Santhali Culture The Santhali culture has attracted many scholars and anthropologists for decades. Some studies of the Santhali culture were done by the Christian missionaries. The most famous of them was the Norwegian-born Reverend Paul Olaf Bodding. Unlike many other tribal groups of the Indian subcontinent, the Santhals have preserved their native language despite waves of migrations and invasions such as Aryan, Hun, Mughals, Europeans, and others. Santhali culture is depicted in the paintings and artworks in the walls of their houses. Local mythology includes the stories of the Santhal ancestors Pilchu Haram and Pilchu Bhudi. The Santhals mainly prefer group performance than solo, which is an important feature of tribal art form in India. Santhali dance The Santhali dance and music is tuned with the nature of occasion whether it is social or ceremonial. The three most quintessential instruments in Santhali music are two kinds of drums one Tumdak and the other Tamak, and Tiriao or flute. The most well known dance form of the Santhals is a group of women with interlocked hands forming a semicircle, encircling a relatively smaller group of male percussionists at the centre. The dance steps and movements are in accordance with the beats which is relatively simple. The dance forms, countenance, and beats differ from region to region. Rebellion On 30 June 1855, two Santhal rebel leaders, Sido Murmu and Kanhu Murmu, mobilized 30 thousand Santhals and declared a rebellion against British colonists. The primitive weapons of the Santhals weren't a match against the musket and cannon of the British. Troop detachments from the 7th Native Infantry Regiment, 40th Native Infantry and others were called into action. Major skirmishes occurred from July 1855 to January 1856, in places like Kahalgaon, Suri, Raghunathpur, and Munkatora. The revolt was brutally crushed, and the two celebrated leaders Sidhu and Kanhu were killed. Charles Dickens in Household Words wrote"There seems also to be a sentiment of honour among them (Santhals); for it is said that they use poisoned arrows in hunting, but never against their foes. If this

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be the case - and we hear nothing of the poisoned arrows in the recent conflicts they are infinitely more respectable than our civilised enemy the Russians, who would most likely consider such forbearance as foolish, and declare that is not war." Although its impact was largely shadowed by that of the other rebellion, the Indian Rebellion of 1857, the legend of the Santhal Rebellion lives on as a turning point in Santhal pride and identity. This was reaffirmed, over a century and a half later with the creation of the first tribal province in independent India, Jharkhand.

Maori, New Zealand

The Mori are the indigenous Polynesian people of New Zealand. The M ori originated with settlers from eastern Polynesia, who arrived in New Zealand in several waves of canoe voyages at some time between 1250 and 1300 CE. Over several centuries in isolation, the Polynesian settlers developed a unique culture that became known as the "M ori", with their own language, a rich mythology, distinctive crafts and performing arts. Early Mori formed tribal groups, based on eastern Polynesian social customs and organisation. Horticulture flourished using plants they introduced, and later a prominent warrior culture emerged. The arrival of Europeans to New Zealand starting from the 17th century brought enormous change to the Mori way of life. Mori people gradually adopted many aspects of Western society and culture. Initial relations between M ori and Europeans were largely amicable, and with the signing of the Treaty of Waitangi in 1840 the two cultures coexisted as part of a new British colony. Rising tensions over disputed land sales led to conflict in the 1860s. Social

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upheaval, decades of conflict and epidemics of introduced disease took a devastating toll on the Mori population, which went into a dramatic decline. But by the start of the 20th century the Mori population had begun to recover, and efforts were made to increase their standing in wider New Zealand society. Traditional Mori culture has enjoyed a revival, and a protest movement emerged in the 1960s advocating Mori issues.

In the 2006 census, there were an estimated 620,000 M ori in New Zealand, making up roughly 15% of the national population. They are the second-largest ethnic group in New Zealand, after European New Zealanders ("P keh"). In addition there are over 120,000 Mori living in Australia. The Mori language (known as Te Reo Mori) is spoken to some extent by about a quarter of all Mori, and 4% of the total population, although many New Zealanders regularly use Mori words and expressions, such as "kia ora", while speaking English. M ori are active in all spheres of New Zealand culture and society, with independent representation in areas such as media, politics and sport. Disproportionate numbers of Mori face significant economic and social obstacles, with lower life expectancies and incomes compared with other New Zealand ethnic groups, in addition to higher levels of crime, health problems and educational under-achievement. Socioeconomic initiatives have been implemented aimed at closing the gap between M ori and other New Zealanders. Political redress for historical grievances is also ongoing. Mori Culture and Traditions The Mori brought with them a Polynesian culture rich in song, dance, carving, and weaving, which was intertwined with strong oratory skills, as no written language was used.

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The abundance of natural resources and well developed skills and knowledge enabled the Mori race and culture to flourish in Aotearoa. The Mori have a close kinship with their environment. The basis of the M ori culture lies in its Polynesian belief of a divine direction in all matters. In the beginning a host of gods such as Tane Mahuta (God of the Forest) and Tangaroa (God of the Sea), and four others who are: wind, wild food, planted food, and mankind, were born to Rangi (the Sky Father) and Papa (the Earth Mother). They are remembered through song and dance. All mortal matters were subject to rules laid down by one or another of these godly children, issued as edicts through earthly priests called tohunga ahurewa . It is also the priest's duty to memorize their sacred chants and seeing that they were passed on to the next generation. The priest also conduct rituals at planting and harvesting of crops, communicated with gods when there was drought or other natural disaster, they also saw that the burial of chiefs was taken in a proper manner. Spells were also laid on people who behaved badly towards their friends, or broke the ruling that certain tapu (sacred) places, such as the scene of a recent death, should not be visited for a time. Priest therefore not only influence the gods, but encouraged the people to behave properly towards others. Ancient M ori traditions and art forms have become precious taonga (treasures) of the modern M ori. Status and prestige are gained from ancestors who contribute to the living by giving spiritual strength and guidance to those who call on them. It is for this reason that traditional art forms such as the carved walking sticks, greenstone necklaces and bone carvings are treated with respect, as they carry the spirit of the original owners. According to Traditions, most of the settlers landed on the east coast of the North Island. Their present descendants will still take you to the very spot described in the traditions as the first landfall. Many settled at the shores by the entrances of rivers. The Moris steamed kai (food) in underground ovens , a circular hole in the ground filled with very hot stones, called hangi and this method is being used till today when entertaining large crowds of people. The M oris cooked food such as fish and Kumara (something that looks like a small knobbly potato but sweeter) by wrapping them in leaves and steaming them over hot stones. A wellliked food at Mori feasts is kai moana or a wide variety of seafood collected from rocky reefs and sands along the coast, and river food such as eels, whitebait (a kind of tiny fish which swim together in large shoals) and freshwater crayfish.

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The Mori know when is the best time to gather sea eggs and little octopuses and they watch the phases of the moon to select the best time to go night fishing and eeling. A distinct tribal hierarchy developed within M ori society which had both aristocratic and commoner classes. The welfare of all within the tribe and the laws governing their lives were strictly controlled by priests, whose powers were greatly feared. Other individuals whose accomplishments left an indelible record include the great warrior chiefs and the artists whose legacies remain today as some of New Zealand's greatest treasures. Carving represents the ultimate art form of the M ori people of New Zealand. Not merely decorative, pieces pay deep respect to renowned ancestors and portray the entire range of human emotions. The dominant image is the human figure with a protruding tongue. The whakapapa (family tree) is retold in the intricate carvings on every marae. The Marae, or traditional meeting house, is a place where visitors are welcomed, is today, still the main focus for ceremony and community identity. In former times there was a very strict division in M ori life. Some things were tapu, or sacred and powerful, and some were noa without sacred power. Cooked food was noa, and must never be taken into the meeting house (marae). Tangihanga, or funeral wakes for important people are also held here. Traditionally, these wakes will go on for several days and distant relatives and acquaintances of the dead person are expected to gather from all over the country. The dead are bade farewell and ancient ritual, myths, legends and songs are passed on to the younger generation. Visitors are welcomed onto the marae with a strict formal protocol. A party of visitors who come to a marae cannot enter straight away. The tapu (power) they bring with them is different to that of the marae they are visiting. They wait outside until they hear a highpitched wailing call coming from woman inside. This is a sign for them to enter. But when they go through the gates and on the marae, they must lower their heads. The woman is calling to the ancestors and the visitors hang their heads in tribute to the dead. It is always important to show respect for ancestral spirits at the start of any meeting. Then there are speeches of welcome and ceremonial chants and at the end of the welcome, people shake hands and press noses or to hongi and it include the haka (challenge) Oratory - the art of speaking in public - was traditionally one of the most important arts in Mori society. Chiefs who were great orators would not stand

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still to speak. They might dance up and down, waving in the air their caved spear or their stone club, and sometimes breaking into songs or chants. At a gathering on the marae, the Mori meets many members of his wider family. Kinship is important among the M ori and even very distant relatives are considered part of the family group and are always welcome.

Bael, West Bengal, India

Bael or Bili (Aegle marmelos), also known as Bengal quince, golden apple, stone apple, wood apple, bili, is a species of tree native to India. It is present throughout Southeast Asia as a naturalized species. The tree is considered to be sacred by Hindus. Its fruits are used in traditional medicine and as a food throughout its range. Botanical information Bael is the only member of the monotypic genus Aegle. It is a mid-sized, slender, aromatic, armed, gum-bearing tree growing up to 18 meters tall. It has a leaf with three leaflets. Bael occurs in dry forests on hills and plains of northern, central and southern India, southern Nepal, Sri Lanka, Myanmar, Bangladesh, Vietnam, Laos, Cambodia and Thailand. Uses The fruit is eaten fresh or dried. If fresh, the juice is strained and sweetened to make a drink similar to lemonade. It can be made into sharbat (Hindi) or Bela pana, a refreshing drink made of the pulp with water, sugar, and lime juice, mixed, left to stand a few hours, strained, and put on ice. One large bael fruit may yield five or six liters of sharbat. If the fruit is to be dried, it is usually sliced and sun-dried. The hard leathery slices are then simmered in water. The leaves and small shoots are eaten as salad greens. Religious significance-The Holy Bael The fruit is also used in religious rituals. In Hinduism the tree is sacred. It is used in the worship of Shiva, who is said to favor the leaves. The tri-foliate form of leaves symbolize the trident that Shiva holds in his right hand. The fruits were used in place of coconuts before large-scale rail transportation became available. The fruit is said to resemble a skull with a white, bone-like outer shell and a soft inner part, and is sometimes called seer phael (head-fruit). However,

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it is quite likely that, the term 'Seer Phal' has coined from the Sanskrit term 'ShreePhal, which again is a common name for this fruit. Many Hindus have bael trees in their gardens. Medicinal uses Research has found the essential oil of the Bael tree to be effective against 21 types of bacteria. It is prescribed for smooth bowel movement to patients suffering from constipation and other gastrointestinal problems. Research also indicates that unripe Bael fruit is effective in combating giardia and rotavirus. While unripe Bael fruit did not show antimicrobial properties, it did inhibit bacteria adherence to and invasion of the gut (i.e. the ability to infect the gut).

Fern
Ferns are mostly a tropical group, and New Zealand has an unusually high number of species for a temperate country. The country has about 200 species, ranging from ten-metre-high tree ferns to filmy ferns just 20 millimetres long. About 40 per cent of these species occur nowhere else in the world. Where do they grow? Ferns are typically found in moist, forested areas because they require lots of water. Ferns are abundant in all damp situations in New Zealand forests, forming the undergrowth beneath a dense canopy of evergreen trees. They are also found growing on tree trunks and branches and along stream banks. Some

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hardy species have adapted to other drier habitats such as coastal, alpine, urban and even desert locations. Tree ferns are some of the most distinctive features of NZs forests. They occur in all forest types and are most plentiful in cut-over and degraded forests, where light levels are relatively high. They also appear in older plantations of exotic trees that are relatively open. Symbol of New Zealand Ferns are an unofficial symbol of New Zealands national identity. Their dominance in native bush, and their importance as food and medicine, led to their common use as design elements in traditional M ori carving. Today, the koru is used as a commercial logo for Air New Zealand. Fernland was an early colloquial name for New Zealand, and later the fern was associated with the countrys products. One of the most enduring is Fernleaf butter. Uses Food and medicine Mori ate a number of ferns. The stems of underground bracken (Pteridium esculentum) contain starch and were a staple food. However, bracken is now known to contain cancer-causing chemicals and should be avoided. More of a delicacy was king fern or para (Marattia salicina), which was cultivated for its tuberous root. The young, curled fiddleheads of many species are edible and were eaten as greens. They are being cultivated again under their Mori name of pikopiko. The inner core of mamaku or black tree fern (Cyathea medullaris) yields a slimy pith that was cut into slabs and baked in a h ng (earth oven). Several ferns were used for their medicinal properties, for example, as poultices for skin conditions. Construction and weaving Tree fern trunks were used to build houses and food stores, as they are slow to rot and last well in the ground. Today, whek (Dicksonia squarrosa) is used for retaining walls. Stems of Lycopodium volubile and mangemange (Lygodium articulatum) were used as binding twine. Stems of the clubmoss puakarimu (Lycopodium deuterodensum) were woven with flax to make waterproof capes. The Victorian fern craze

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The fashion in Victorian England to collect, cultivate and display ferns spread to New Zealand. Two Aucklanders Eric Craig and Thomas Cranwell produced albums of pressed ferns for sale. Examples of these are held in New Zealand museums (and elsewhere). In 1880, fern enthusiast H. B. Dobbie used the cyanotype process an early form of photography to produce illustrations of 148 New Zealand ferns which he published in book form. They are now known as blue books because the ferns appear as white silhouettes on a blue background. Few copies of Dobbies blue books survive. Forty years later, Dobbie wrote New Zealand ferns, the definitive reference work on New Zealand ferns for more than 60 years.

Kangchenjunga, Sikkim, India

Kangchenjunga is the third highest mountain in the world. It rises with an elevation of 8,586 m (28,169 ft) in a section of the Himalayas called Kangchenjunga Himal that is limited in the west by the Tamur River and in the east by the Teesta River. Kangchenjunga is located on the boundary between Nepal and the Indian state of Sikkim (neighbouring state of West Bengal, India). The Geological Survey of India indicates the summit of Kangchenjunga at 8,598 m (28,209 ft). It is the highest peak in India and the easternmost of the peaks higher than 8,000 m (26,000 ft). It is called Five Treasures of Snow after its five high peaks, and has always been worshiped by the people of Darjeeling and Sikkim.

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Kangchenjunga was first climbed on 25 May 1955 by Joe Brown and George Band, who were part of a British expedition. They stopped short of the summit as per the promise given to the Maharaja of Sikkim that the top of the mountain would remain inviolate. Every climber or climbing groups that have reached the summit have followed this tradition. Name Kangchenjunga is the official spelling adopted by Douglas Freshfield, A. M. Kellas, and the Royal Geographical Society that gives the best indication of the Tibetan pronunciation. The brothers Hermann, Adolf and Robert Schlagintweit explained the local name Kanchinjnga meaning The five treasures of the high snow as originating from the Tibetan (following IPA given in Sikkimese Tibetan) word "gangs" meaning snow, ice; "chen" meaning great; "mdzod" meaning treasure; "lnga" meaning five. The treasures represent the five repositories of God, which are gold, silver, gems, grain, and holy books. Geography The Kangchenjunga Himal section of the Himalayas lies both in Nepal and Sikkim, and encompasses 16 peaks over 7,000 m (23,000 ft). In the north, it is limited by the Lhonak Chu, Goma Chu and Jongsang La, and in the east by the Teesta River. The western limit runs from the Jongsang La down the Gingsang and Kangchenjunga glaciers and the rivers of Ghunsa and Tamur. Kanchenjunga rises about 20 km (12 mi) south of the general alignment of the Great Himalayan range about 125 km (78 mi) east-south-east of Mount Everest as the crow flies. South of the southern face of Kanchenjunga runs the 3,000 3,500 m (9,80011,500 ft) high Singalila Ridge that separates Sikkim from Nepal and north Bengal. First ascent In 1955, Joe Brown and George Band made the first ascent on 25 May, followed by Norman Hardie and Tony Streather on 26 May. The full team also included John Clegg (team doctor), Charles Evans (team leader), John Angelo Jackson, Neil Mather, and Tom Mackinnon.

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Mount Cook, New Zealand

Aoraki / Mount Cook is the highest mountain in New Zealand, reaching 3,754 metres (12,316 ft). It lies in the Southern Alps, the mountain range which runs the length of the South Island. A popular tourist destination, it is also a favourite challenge for mountain climbers. Aoraki / Mount Cook consists of three summits lying slightly south and east of the main divide, the Low Peak, Middle Peak and High Peak, with the Tasman Glacier to the east and the Hooker Glacier to the west. The mountain is in the Aoraki / Mount Cook National Park, which was established in 1953 and along with Westland National Park, Mount Aspiring National Park and Fiordland National Park forms one of the UNESCO World Heritage Sites.

Name and European Discovery Aoraki is the name of a person in the traditions of the Ngi Tahu iwi; an early name for the South Island is Te Waka o Aoraki (Aoraki's Canoe). In the past many believed it meant "Cloud Piercer", a romantic rendering of the name's components: ao (world, daytime, cloud, etc.) and raki or rangi (day, sky,

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weather, etc.). Historically, the Mori name has been spelt Aorangi, using the standard Mori form. While the mountain was known to M ori centuries before, the first European known to see Aoraki / Mount Cook was Abel Tasman, on 13 December 1642 during his first Pacific voyage. The English name of Mount Cook was given to the mountain in 1851 by Captain John Lort Stokes to honour Captain James Cook who first surveyed and circumnavigated the islands of New Zealand in 1770. Captain Cook did not sight the mountain during his exploration. Geology The Southern Alps on the South Island were formed by tectonic uplifting and pressure as the Pacific and Indo-Australian Plates collided along the island's western coast. The uplifting continues, raising Aoraki / Mount Cook an average of 7 millimetres (0.28 in) each year. However, erosive forces are also powerful shapers of the mountains. The severe weather is due to the mountain's jutting into powerful westerly winds of the Roaring Forties which run around approximately 45S latitude, south of both Africa and Australia. The Southern Alps are the first obstacle the winds encounter after South Africa and Australia, having moved east across the Southern Ocean. The height of Aoraki / Mount Cook was established in 1881 by G. J. Roberts (from the west side) and in 1889 by T. N. Brodrick (from the Canterbury side). Their measurements agreed closely at 12,349 feet (3,764 m). The height was reduced by 10 metres (33 ft) when approximately 12-14 million cubic metres of rock and ice fell off the northern peak on 14 December 1991. Mt Cook lies in the centre of the distinctive alpine fault, a 650 km long active fault in the Southern Alps. It is responsible for the uplift of Mt Cook and is considered to move every 100 300 years. It last moved in 1717. Reaching the Summit The first recorded European attempt on the summit was made by the Irishman Rev. William S. Green and the Swiss hotelier Emil Boss and the Swiss mountain guide Ulrich Kaufmann on 2 March 1882 via the Tasman and Linda Glaciers. Mt Cook Guidebook author Hugh Logan considers they reached within 50 metres of the true summit. The first ascent was on 25 December 1894, when New Zealanders Tom Fyfe,

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James (Jack) Clarke and George Graham successfully reached the summit via the Hooker Valley and the north ridge.

Satyendranath Bose
Satyendra Nath Bose FRS (Bengali: , 1 January 1894 4 February 1974) was an Indian physicist specializing in mathematical physics. He was born in Calcutta. He is best known for his work on quantum mechanics in the early 1920s, providing the foundation for BoseEinstein statistics and the theory of the BoseEinstein condensate. A Fellow of the Royal Society, the Government of India awarded him India's second highest civilian award, the Padma Vibhushan in 1954. The class of particles that obey BoseEinstein statistics, bosons, was named after him by Paul Dirac. A self-taught scholar and a polyglot, he had a wide range of interests in varied fields including physics, mathematics, chemistry, biology, mineralogy, philosophy, arts, literature and music. He served on many research and development committees in independent India.

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Ernest Rutherford
Ernest Rutherford, 1st Baron Rutherford of Nelson, OM FRS (30 August 1871 19 October 1937) was a New Zealand-born physicist and chemist who became known as the father of nuclear physics. He is considered the greatest experimentalist since Michael Faraday (17911867). In early work he discovered the concept of radioactive half-life, proved that radioactivity involved the transmutation of one chemical element to another, and also differentiated and named alpha and beta radiation. This work was done at McGill University in Canada. It is the basis for the Nobel Prize in Chemistry he was awarded in 1908 "for his investigations into the disintegration of the elements, and the chemistry of radioactive substances".

Rutherford moved in 1907 to the Victoria University of Manchester (today University of Manchester) in the UK, where he and Thomas Royds proved that alpha radiation was helium ions. Rutherford performed his most famous work after he became a Nobel laureate. In 1911, although he could not prove that it was positive or negative, he theorized that atoms have their charge concentrated in a very small nucleus, and thereby pioneered the Rutherford model of the atom, through his discovery and interpretation of Rutherford scattering in his gold foil experiment. He is widely credited with first "splitting the atom" in 1917 in a nuclear reaction between nitrogen and alpha particles, in which he also discovered (and named) the proton.

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Rutherford became Director of the Cavendish Laboratory at Cambridge University in 1919. Under his leadership the neutron was discovered by James Chadwick in 1932 and in the same year the first experiment to split the nucleus in a fully controlled manner, performed by students working under his direction, John Cockcroft and Ernest Walton. After his death in 1937, he was honoured by being interred with the greatest scientists of the United Kingdom, near Sir Isaac Newton's tomb in Westminster Abbey. The chemical element rutherfordium (element 104) was named after him in 1997.

Jhuma Saha, Swastika Ganguly September, 2013

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The Magnificent Dead Cities of Ancient Syria

Known as the Dead Cities, or Ancient Villages of Northern Syria, there is an incredible collection of 700 abandoned settlements that lay in the Al-Bara region. Ranging from single monuments to almost-complete villages, these ghostly sites date back before the fifth century CE. They are situated in an area known as Belus Massif, and contain numerous remains of Christian Byzantine architecture. The ruins are believed to have been abandoned between the 8th and 10th century, and include churches, public houses, dwellings, and even wine presses. Restorative work is currently taking place on the sites, and the local inhabitants are welcoming to visitors. The Dead Cities, now a UNESCO World Heritage Site, are believed to have flourished on the major trade routes of the Byzantine Empire, where they were established. But when the Arabs conquered, they lost the majority of their business, and many inhabitants moved to areas of increasing urbanization. As a result, the Dead Cities have an eerie feel to them as if the inhabitants simply vanished without trace.

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Nandan Durga Puja, 2013

As the Durga Puja gets nearer, one can find every Bengali waiting eagerly with a smile on his face. This autumnal festival brings in a wisp of freshness in the air in welcome of Mother Durga. The clear blue sky, the mild fragrance of the white Shiuli flowers, the swaying of the Kash flowers in the fields and the shakti chants make the entire atmosphere holy. This festival in the autumn or Sharat signifies the power of the female Shakti, the ten armed Godess Durga, over all that is bad and evil. Eagerness knows no bounds with the advent of Mahalaya, a week before the main puja, when one hears the holy chant of Ya Devi Sarva Bhutesu Shakti Rupena Samsthita, Namastasye Namastasye Namastasye Namoh Namaha.On Mahalaya, with chants and incantations, Godess Durga is invited to descend onthe earth. During the Durga Puja, the Goddess is worshipped along with her two sons, Ganesha and Karthik, and two daughters, Lakshmi and Saraswati, and her husband Lord Shiva. The best known story of Durga is that of her defeating the demon Mahisasur, who could not be killed by any male because of a blessing he had received from Brahma. Knowing that the gods could not renege on the boon they had granted, Mahisasur fought the gods and threw them out of their abode. The gods and goddesses appealed to vishnu for help. On Vishnu's advice, each god gave up one of his qualities and weapons to Durga. Armed with their weapons and imbued with their qualities, Durga fought and killed Mahisasur. Consequently she is also known as Mahisasurmardini. There are detailed discussions about Durga in Kalivilasatantra, Kalikapurana, Devibhagavata, Mahabhagavata, Vrhannandikeshvarapurana, Durgabhaktitarangini, Durgotsavaviveka, Durgotsavatattva. There are two pujas associated with Durga: Basanti Puja in spring (basanta), and Sharadiya Puja in autumn (sharat). Basanti Puja is performed in the first fortnight of Chaitra (March-April) and Saradiya Puja in the first fortnight of Aswin or Kartik (October-November). The origins of Basanti Puja date back to the time of King Surath, who had lost his kingdom. Advised by a wise man to worship Durga, he did so and had his kingdom restored. Saradiya Puja derives from a worship of the goddess arranged by ramachandra in autumn.

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Durga Puja is by far the most foodilicious festival of all festivals. Bengalis love food, and Durga Puja is the perfect excuse to eat all that the heart desires! Bhog is the meal provided to all and devotees after the Goddess have partaken of it. We serve Bhog on the three most important days of the Puja, which are Saptami, Ashtami and Noomi. Bhog is always completely vegetarian, and yet it satiates at all levels. Bhog is served for lunch every day of Durga puja, and since

Durga puja is generally Sarvajanik, anyone can partake of the meal. People stand in serpentine queues and are served by young and enthusiastic men of the community. They pour khichudi, and urge an extra papad, and serve you laddles of mixed veg labda and sweet tomato chatni. Khichdi made in the large communal kitchen is inimitable at home. Maybe it is the fact that large quantities of food are cut and cooked and served and eaten in such a harmonious way that it is not just oneness with God, but also oneness with our fellow human beings that one feels.

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Cultural events form the heart of the Durga Puja celebration. Participants, irrespective of age, region, religion and country are seen contributing wholeheartedly and lifting up the spirit of Puja, all the more. Be it dancing, singing a song, reciting a poem or delivering a speech, everyone seems to enjoy their performances in the utmost festive mood.

The Hilarious Comedy Bong Natok, Kenaram Becharam succeeded in entertaining several people who had flocked round to observe the play. The actors left no stone unturned in making the last day experience of Durga Puja an enthralling and remarkable one.

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All about Henna/ Mehndi

The use of Henna for body art is several centuries old at least. The people of ancient Egypt and India used this form of temporary tattoo for religious ceremonies, wedding festivals, and for simple body adornment.

Origin of Henna
The art of henna (called Mehndi in Hindi & Urdu) has been practiced for over 5000 years in Pakistan, India, Africa and the Middle East. There is some documentation that it is over 9000 years old. The word Mehndi is derived from the Sanskrit word Mendhika. The use of Mehndi and turmeric is described in the earliest Vedic ritual books. Haldi (Staining oneself with turmeric paste) as well as Mehndi are Vedic customs, intended to be a symbolic representation of the outer and the inner sun. Vedic customs are centred round the idea of awakening the inner light".

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Henna Plant
Henna, scientifically named Lawsonia Inermis, is a shrub that grows up to 12 feet. It can be found in the hot climates like Egypt, Pakistan, India, Africa, Morocco, and Australia. The plant grows best in heat up to 120F degrees and contains more dye at these temperatures. It wilts in temperatures below 50F degrees. It also grows better in dry soil than damp soil. The leaves are in opposite decussate pairs and vary in sizes from approximately 2-4 cm. long. The flowers are fragrant, produced in conical panicles 1040 cm long, each flower 5 mm diameter, with four white petals. The fruit is a dry capsule 68 mm diameter, containing numerous 12.5 mm seeds.

The henna plant contains lawsone which is a reddish-orange dye that binds to the keratin (a protein) in our skin and safely stains the skin. The stain can be from pale orange to nearly black depending on the quality of the henna and how well ones skin takes it. A good henna, fresh from hot & dry climates, will stain the darkest. For body decorations, the leaves of the henna plant are dried, crushed into a fine powder, and made into a creamy paste using a variety of techniques. This paste is then applied to the skin, staining the top layer of skin only. In its natural state it will dye the skin an orange or brown color. Although it looks dark green (or dark brown depending on the henna) when applied, this green paste will flake off revealing an orange stain. The stain becomes a reddish-brown color after 1-3 days of application. The palms and the soles of the feet stain the darkest because the skin is the thickest in these areas & contain the most keratin. The

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farther away from hands and feet the henna is applied, the lesser the color. The face area usually stains the lightest. The designs generally last from 1-4 weeks on the skin surface depending on the henna, care and skin type. Henna works on all skin types and colors. It looks just as beautiful on dark skin as light skin but because some people skin may take the dye better than others, it can look more prominent on one and not as much on another (even lighter skin). But nevertheless, henna is a symbol of beauty, art, and happiness and is meant for everyone! Because henna acts as a sunblock, there is an added benefit to having henna designs in the summer. For those who love to get a tan it leaves tan lines! In order to benefit from this, it is best to get a henna design, let its natural colour stay on for 3-5 days and then go and get a tan. This way you can enjoy the natural henna color on your body, the henna colour with the tan, and then tan lines in the shapes of the design (once the henna fades away)! The tan lines last as long as the actual tan!

Henna in the West

Today people all over the world have adopted the ancient traditions of adorning their bodies with the beautiful natural artwork created from the henna plant. It became a very popular form of temporary body decoration in the 90's in the US and has become a growing trend ever since. Celebrities like Madonna, Gwen Stefani, Yasmine Bleeth, Liv Tyler, Xena, and many others proudly adorn their bodies with henna and show them off in public, movies, videos, etc. People throughout the west have adopted the eastern tradition in their lives by having their hands and feet painted for weddings, bellies painted while in pregnancy, heads adorned with henna while going through chemotherapy, scars camouflaged to make them unnoticeable, etc.

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Medicinal Properties
Henna is considered an herb, and has long been known to have healing qualities. It is used topically and usually not ingested or inhaled. In ancient times it has been applied to the skin surface for such ailments as headaches, stomach pains, burns (including sunburns), open wounds, as a fever reducer, athlete's foot and even the prevention of hair loss. It is also a sunblock and has been used on the noses of animals to prevent sunburn. Another use of henna would be to apply it to goat skin bags, after they have been salt-cured. It "insect-proofs" or "mothproofs" the bags by making the skin poisoned or inedible.

Indian Wedding Traditions and Henna

Mehndi has a long history in India, the majority centering round weddings. The role of henna goes beyond cosmetic and aesthetic value, and has a much deeper meaning to the women of India. The night before a wedding is known as the 'Night of Henna or Mehndi when the bride's hands and feet are decorated with elaborate designs. The designs are usually floral with some signifying fertility. The grooms name is hidden within the right palm of the bride, and he must find it before he is allowed to sleep on his wedding night. At the Mehndi, relatives and friends (married as well as unmarried) of the bride gather at the bride's house. While the henna is being applied the bride is given advice by older women on married life. There are many folk songs that have

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been written about the Mehndi and often singing them is a natural progression of the festivities. In some parts of India, henna is also applied to the bridegroom's palms. The deep red of Mehndi symbolizes the deep love between the husband and wife.

There are many superstitions surrounding the longevity of henna on the bride's hand. One superstition is if the henna lasts longer on the brides hands then her grooms, the bride will be treated very well at her in-laws' place. Meaning she is spared from doing chores! Since that is the case, the bride's mother often feels a sense of relief when the daughter visits her few days after the wedding and is still able to see the henna design on her daughter's palm.

Mehndi is just one of the rituals that signify the departure of the bride from her paternal home to her in-laws home; thus heralds the beginning of an important new stage of life for the young lady.

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Poetry by our little friend, Samadrita BIRDS

Birds are the most beautiful creatures in the world ; To describe, there is no word.

All in very care ; The birds make their nests in trees' hair.

The Owl; the forest's sentinel Hoots like the church bell.

The smallest Humming bird The greatest sublime of world.

Birds fly independently in sky HIGH ! HIGHER AND HIGH !!! SAMADRITA MAJUMDER

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HABITS OF SEA
The sea can beangry ! The sea can betough ! The sea can bevicious ! The sea can berough !

SAMADRITA MAJUMDER

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History
It is one of my favourite subjects: HISTORY Very interesting and full of mystery. What happens ? How does it happen ? and when does it happen ? We ask the teachers - what happened then ? Years before years , many a years before , We have to learn what happened-more, more and more.

That from the little age : class 3 We have to study a lot about History. More , More and More To know about the history before !!!... SAMADRITA MAJUMDER

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I MET AN OLD LADY

I met an old lady her name was Heidi , trying to cross the busy road with her heavy load .

She was fair , with grey hair a mole on her left cheek with a high stature .

She had low tone she was lone . None by her side to guide .

Waited for anyone at every morn . She dressed brightly with a bangle which adorn She lived in a huge mansion without any tension . But ,

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she was alone .

I accompanied her to her home stuffed all the fruits in her fridge .

I was happy to help her she benedicted me I promised her that every weekend I shall come .

I kept my promise went there every weekend, she was happy to get me and so I was .

I shall get never ; so good grandma ever . SAMADRITA MAJUMDER

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IN HIS MOOD
My grandfather : he was very good , he did everything in his mood , he liked to eat food . he liked to eat various types of dishes he accepted all types of fishes We sat together and watched T.V. we together enjoyed the games . But by his fault : he made fun of the lames , as he did everything in his mood Although he was good . I told him , making fun of lame is not good So then and then he changed his behaviour into a good one .

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He was strong in Maths and English and whenever I asked him any meaning he quickly answered At last , again I want to say he was very good . Don't mind , he did everything in his mood.

SAMADRITA MAJUMDER

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IN THE WOODS
I am in the woods , with my dog and I standing on a log , in a sulky mood !

As I received a mail ; which made me assail. I was upset no idea to get !

I live alone in the house with a dog and a mouse. My parents have left for Mumbai The last word that I have heard BYE-BYE !

I have to tread a long I shall reach by hearing the thrush's song.

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The blue moon on the way to appear. I on my way of fear ! SAMADRITA MAJUMDER

L-A-N-D-S-C-A-P-E
Two huts in the right which were coloured bright, with a fencing and the flowers dancing along with the breeze that blew, and a flight of bird flew over the sea.

Greenery all-around and the bees' buzz's sound. At a distance, the sea the sun rising from it. The house surrounded by oleander shrub. Behind the house, a grove of tree, those are set, Free-Free-Free.

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The houses of gold with the colour bold. Surrounded by chocolate colour fence , It was very impressive ; hence. As beautiful as a inn, where lived a couple of Finn. THAT WAS THE BEST LANDSCAPE I EVER SAW... SAMADRITA MAJUMDER

THE SUN
It is fun , to see the sun .

Shining bright , gives us light .

It is high , in the sky .

It is fun , to see the sun . SAMADRITA MAJUMDER

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THE CLOUDS
The clouds are in the sky ! which are very, very high.

With the silver lining ! in the diamond mining !

Flows like rivers & lakes ! And like the frothy waves & downy flakes.

White like the Himalayan snow ! After the rain gives the rainbow.

Silver and blue as the mountain mist ! White like the bracelet on a maiden's wrist.

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Sometimes make sounds as a lion roars ! And then gifts us with the minute pores!! SAMADRITA MAJUMDER

THE RAINDROPS
Oh!!! My raindrops, my Atlantic limpid raindrops come, fall on the farmer's hard worked crops.

Oh!!!My raindrops, please-please come to me We shall dance in joy , and sing like thrush & bee.

Oh!!!My raindrops, don't spoil the fun of party don't make the people sad and the areas dirty.

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Oh!!! My raindrops, fall on the thirsty trees Make the weather cool not a condition to freeze.

Oh!!! My raindrops, come, fall on the tranquil grass don't go quickly be for a long time with us......!..!.. SAMADRITA MAJUMDER

THE SUMMER VACATION

I am playing hide and seek , hiding behind the hemlock tree . Waiting for the lunch , to eat the leek , But molly cannot hunt for me.

My brother has smitten few sixes, playing , enjoying and having fun. And this is the cricket which fixes, him under the bright , summer sun. SAMADRITA MAJUMDER

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THE TRAIN GOES ON

TOOT-TOOT ; goes train whatever it may besun, moon or rain. the

So many things we get to see so many hummock and humpbacked bridge.

Runs on the track all alone The train runs with a TOOT-TOOT tone.

Miles after miles passing by the stationsnothing but with a smile.

FAST, FAST very FAST goes the train blowing the dust. SAMADRITA MAJUMDER

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Artwork by our little friend, Rudra

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Durga Puja & Lakshmi Puja Invitation by Nandan Paribar, 2013

You are cordially invited with family and friends to celebrate Sarbojonin Durgotsav 2013 at the Lynfield Recreation and Youth Centre 16 - 18 Griffen Park Road. Mt Roskill.

Programme:
Friday 11th October 2013 Evening: Deity installation Saturday 12th October 2013 Morning : Mohashosthi Pujo, Mohashoptomi Pujo & Mohaosthomi Pujo followed by prosad and lunch Evening : Shondha Aroti, Cultural Programme & Dinner Sunday 13th October 2013 Morning : Mohanobomi Pujo, Doshomi Pujo, Bishorjon followed by prosad and lunch

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Evening : Bijoya Doshomi meeting & greeting, Cultural programme followed by Dinner WE LOOK FORWARD TO SEEING YOU ALL! Nandan Pujo Committee

Pujor Somay Suchi

(Timings & descriptions)

Durga Puja
Friday 11th October 2013 Deity installation followed by dinner 7:30 pm onwards Saturday 12th October 2013 Kolosh Sthapona 10:00 am Mohashosthi Pujo 10:30 am Mohashoptomi Pujo 11:00 am Anjali 11:15 am 11:25 am Mohaosthomi Pujo 11:30 am Anjali 12:30 pm 1:00 pm (please note last Anjali will commence at 12:55 pm) Prosad & lunch will be served 1:00 pm onwards Shondhi Pujo 1:30 pm onwards Shondha Aroti 7:00 pm Cultural Programme 7:30 pm Dinner will be served after the cultural programme

Sunday 13th October 2013 Mohanobomi Pujo 10:00 am Anjali 11:00 am 11:15 am Home-Yagna 11:30 am 12:00 noon Doshomi Pujo followed by Shantirjol & Bishorjon 12:30 pm Prosad & lunch will be served 1:00 pm onwards

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Sindoor Khela and Bijoya Doshomi meeting & greeting 3.00 pm Cultural Programme 7:00 pm onwards Dinner will be served after the cultural programme

Lakshmi Pujo
Saturday 19th October 2013 7:30 pm onwards Venue: Kohia Teachers Training Centre 78 Epsom Avenue, Mt Eden, Auckland

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Cricket: the unofficial National Game of India

Why whenever there is a cricket match going on, we just cant help ourselves from switching on the channel where one can watch the live telecast. And if we dont have access to a TV set, our hands just tune in to the radio commentary. From schools to offices to canteens and cafeterias, all turn into a stadium when we see our team on the cricket field. Farmers working in fields keep transistors with them and even their hands stop when Sachin is batting on 99 or when Dhoni hits the last ball out of the park to snatch win from the hands of the opposition. Cricket, the gentlemans game, is the unofficial national game of India. Though seems to be embedded in the life of country, it did not originate in India.

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Origin:
A basic form of cricket can be traced back to the 13th century, but it may have existed even earlier than that. The game seems to have originated among children of the farming and metalworking communities in the Weald between Kent and Sussex. Written evidence exists of a game known as creag being played by Prince Edward, the son of Edward I (Longshanks), at Newenden, Kent in 1300. In 1598, a court case referred to a sport called kreckett being played at the Royal Grammar School, Guildford around 1550. The Oxford English Dictionary gives this as the first recorded instance of cricket in the English language.

A number of words are thought to be possible sources for the term "cricket". The name may derive from a term for the cricket bat: old French criquet (meaning a kind of club) or Flemish krick(e) (meaning a stick) or in Old English crycc (meaning a crutch or staff). (The latter is problematic, since Old English 'cc' was palatal in pronunciation in the south and the west midlands, roughly ch, which is how crycc leads to crych and thence crutch; the 'k' sound would be possible in northern dialects, however.) Alternatively, the French criquet apparently derives from the Flemish word krickstoel, which is a long low stool on which one kneels in church and which resembles the long low wicket with two stumps used in early cricket. During the 17th century, numerous references indicate the growth of cricket in the south-east of England. By the end of the century, it had become an organised activity being played for high stakes and it is likely that the first

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professionals appeared in that period. We know that "a great cricket match" with eleven players a side was played for high stakes in Sussex in 1697 and this is the earliest reference we have to cricket of such importance. The game underwent major development in the 18th century and had become the national sport of England by the end of the century. Cricket was prominent in London as early as 1707 and large crowds flocked to matches on the Artillery Ground in Finsbury. The Hambledon Club was founded in the 1760s but its team was already playing first-class matches in 1756. For the next 20 years until the formation of MCC and the opening of Lord's in 1787, Hambledon was the game's greatest club and its focal point. MCC quickly became the sport's premier club and the custodian of the Laws of Cricket.

In 1844, the first ever international cricket match took place between the United States and Canada (although neither has ever been ranked as a Test-playing nation). Fifteen years later, a team of England players went on the first overseas tour (to North America) and 18 years later another England team took part in the first-ever Test match at the Melbourne Cricket Ground against Australia. The legendary W G Grace started his long career in 1865. It can fairly be said that he revolutionised the sport and did much to ensure its massive popularity. The last two decades before the First World War have been called the "Golden Age of Cricket". It is a nostalgic name prompted by the collective sense of loss resulting from the war, but the period did produce some great players and memorable matches, especially as organised competition at county and Test level developed.

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History of Indian cricket

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Before 1930s The game of cricket was introduced in India in the middle of the 18th century. On 3rd March 1845 the Sporting Intelligence magazine carried a reasonably lengthy match report between Sepoy cricketers and the European ones. The article clearly proved that Indian cricket was underway in a city called Sylhet, in modern day Bangladesh. An impressed reporter proudly stated the most enthusiastic European Cricketers could not have played with more energy and cheerfulness than the Sepoys did. However, chroniclers of cricket unanimously suggest that the formation of Parsi Oriental Cricket Club in Bombay in the year 1848 led to the start of organized cricket by the Indians. Parsi cricket The first Indians to take to the game were the Parsis of Bombay, an educated, well-to-do and progressive community. In 1848, the Parsi boys established the Oriental Cricket Club. The emerging Parsi middle class supported cricket as a means of strengthening ties with the overlords, while intellectuals welcomed it as a renewal of physical energy for the race. Around thirty Parsi clubs were formed in the within two decades of the formation of the first club. They were named for British viceroys and statesmen and for Roman gods. Hindu cricket The Hindus took up the game of cricket with the primary reason that they did not want to fall behind the Parsis in any manner. The first Hindu club Bombay Union was formed in 1866. Hindus started playing cricket due to social and business rivalry with the Parsis. Hindu cricketers sorted themselves on the lines of caste and region of origin. One of the primary Hindu cricketer was Ramchandra Vishnu Navlekar. Some of the main clubs were Gowd Saraswat Cricket Club, Kshatriya Cricket Club, Gujrati Union Cricket Club, Maratha Cricket Club, Teluu Youn Cricketrs etc.

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There is no more agreeable sight to me, remarked the Mayor of Bombay in 1886, than of the whole Maidan overspread by a lot of enthusiastic Parsi and Hindu cricketers, keenly and eagerly engaged in this manly game. Gymkhanas The all-white Bombay Gymkhana, which even refused admission to Ranji, was established in 1875. The Europeans invited the Parsis to paly with them for the first time in 1877. This more or less became a regular feature though it was a decade before the Parsis eventually managed to win. Beginning from 1886, the Hindus also began playing an annual match with the Europeans. With the efforts of Luxmani and Tyebjee families, also famous for their social work such as establishing schools and good work at the law courts, the Muslims had also set up their own cricket club in 1883. This was known as the Muslim Cricket Club. Cricket in India got a huge impetus by the formation of Parsi, Hindu and Muslim Gymkhanas in the 1890s. The British alloted one plot each to the three major religious communities in the city, for their exclusive use ending their conflict with the colonizers. Ranjit Singhji A notable mention in this era is the vital contribution of the Black Prince, Prince Ranjit Singhji who had moved to England to study at Cambridge University and was given a cricket blue in his final year by the college. He then went on to play county cricket for Sussex. He made his Test debut for England in 1896. This made him the first Indian to play Test cricket. Ranjit Singhji was Wisden Cricketer of the Year in 1897. He scored a century in the second innings on his Test debut, making his only the second batsman for England to achieve this feat. Duing the year 1899 he amassed 2,780 runs during a season which was the highest aggregate ever made! Indias most prestigious first-class cricket tournament Ranji Trophy was named after him in order to honour this great cricketer.

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The Bombay Quadrangular It started as a contest between the Parsis and the Europeans and evolved thereafter. The Hindus joined in 1886. These matches came to be called the Presidency matches due to their ever-rising popularity. In 1907 a triangular tournament was started which involved the Parsis, Europeans and the Hindus. It was in 1912 that the Muslims joined the league of the famous Bombay tournaments turning it into a Quadrangular. Neutral umpires were introduced for the first time in 1917. Uptil now, umpires were mainly appointed from the Bombay Gymkhana. However, all this changed and umpires began to be appointed from the non-competing teams. In the 1920s, the quadrangular tournament gained immense popularity. Players were being selected from all over the sub-continent region. This gave a huge boost to cricket in India and led to the start of several other tournaments all over the country. In the year 1937, a new team called the Rests was also added to the already four teams turning it into a Pentangular tournament. However, in 1946 due to communal disturbances this Pentangular tournament was done away with, and a zonal competition came into existence. The Nayudus from Nagpur The Nayudu family spent thousands on the promotion of cricket. They formed a club in Nagpur that coached many underprivelaged boys and took care of their education provided they fulfilled the only condition, that is, to play cricket. Such was the familys fascination with the sport that C K Nayudus birth was celebrated by his granddad by organising a cricket match. The familys contribution proved fruitful as C.K Nayudu, the familys illustrious son, went on to become one of the finest batsmen that India has ever produced. One of Nayudus most memorable innings was his 153 in Bombay in 1926. Coming in an hour and thirteen minutes against six English top line bowlers spoke volumes of the progress made by Indian cricket. CK Nayudu was Wisdens Cricketer of the Year in 1933 and was also nicknamed as the Hindu Bradman.

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Formation of BCCI A.E.R Gilligans MCC (Marylebone Cricket Club) toured India in 1926 and took on Bombay in a match that proved to be a turning point in the history of Indian cricket. As C K Naidu smashed 153, with eleven sixes and thirteen fours, for the Hindus, India began dreaming big. It eventually led to the formation of BCCI in 1928. Records prove that the first meeting was held on 4 December 1928 and was funded by the Maharaja of Patiala. The first President of the Board was RE Grant Govan and the founding Secretary was AS De Mello. De Mello later went on to become Board President and was also involved in the creation of the Cricket Club of India. He also helped in establishing Brabourne Stadium which was Indias first permanent cricket venue in 1937. (Adapted from ZEECRIC History of Indian Cricket and other sources)

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