Mosaic of Memories
My earliest memories of the vintage Timarpur and Civil Lines puja take me back to our house in 93 C near the present Timarpur Boys’ school. I recall there was a drama called “ Finger Print” and an elaborate ‘drawing room’ set was being erected in the courtyard of our said house. Almost through the entire night, my father the ubiquitous Sushilda and his friends such as Ashok Chatterjee, Nikhilesh, Herambokaku, Sitangshu Majumdar et al worked under a 200 watt incandescent bulb, on a bamboo structure on which paper was pasted to create an impression of walls of a house. I was small at that time but the preparation of the set enthused me as well.
Dramas occupied a very prominent position in the TPCLPS puja from early times. Every year local men, women, boys and girls would take part in the plays, dance dramas and Aaagomoni musicals enthusiastically. If we are discussing drama and we do not remember Rathindra Nath Choudhury [Hunduda/kaku] and Smarajit Mitra [ Kabluda], it will be blasphemy. Hundukaku as we called him was a keen enthusiast of plays and directed many a memorable dramas. I remember in one such blockbuster “Makorshar Jaal” I played a part behind the scene by giving background music through prerecorded cassettes and my flute. The play was a great hit. I had chosen to be behind the screen as I had been a great disaster in one of the plays called “ Chaar Murti” again directed by Hundukaku, the famous Tenida play written by Narayan Gangopadhyay in which it was a bit role I was asked to do by Hundukaku and I messed it up. My acting career ended on the night of the play itself. My dada Santu, however was a better actor and continued to act in many more plays in the puja pandal. His friends Ashitda, Pompida, Jhanada, Sankar Sanyal, Sidhuda[ who is unfortunately no more], Naruda, Babulda, Bachchuda et al were also able actors. There were many more. I however recall an incident of Sukuda’s [ he has also left us] moustache coming off on the stage and he had to leave in a hurry to backstage to have it set right by our famous ‘ my dear’ make up artist Prasantada[Kaku]
Kabluda was another stalwart in the arena of theatre and directed a number of plays, names of which my frail memory fails to recollect. Gadaida was a known face in all Puja plays and his acting prowess was acknowledged by one and all. In female lead roles we used to see Putuldi, and later Bulu, both Gadaida’s sisters. The entire Chakraborty clan was very active in puja in every field. Without them, the puja was inconceivable.
The main attraction of the dramas in the puja pandal was setting up of the stage for nights before the Sasthi. I recall once Sankar Sanyal fell off from a height while doing some fixing job on the upper frame. Fortunately he escaped with minor injuries.
In the later days, younger generation of Doltu, Pintu, Pankaj and Nantu et al became the mainstays of the drama scene and they were, to use a cliché, ‘damn good’. The young generation kept the tradition of theatre going thereafter.
In the cultural scene the names which come to mind are Illadi[ Banerjee], and Bandana Paul who trained kids of the para for musical shows.
TPCLPS was a humble puja samity with few resources and the puja was celebrated in a low profile. Though there was no great pomp and show, this puja was our “ Pran” [Life]. Rituals were all followed meticulously and Herambakaku and Hundukaku were ever present figures on the thakur bedi, looking after the religious nitty gritties. Later it was our dear Shyamal[ Chakraborty]da. A large number of girls and ladies used to help with work on the bedi. I can recall Niludi and Buludi, daughters of Hrishikeshbabu, a very old resident of the Timarpurpara, who were always found in time from early morning helping out Hermabakaku and Hundukaku. This rich tradition has been maintained in the Timarpur puja even to this day. Daughters from the Goswami family and our dear Gupuda are always there. Ladies would come to the pandal in the morning to cut veggies for the bhog[ kutno kata]. There was total participation in all activities of the puja and for four to five days of puja, there would be virtually no connection with our homes.
It was Ashokda[ Chatterjee], who brought about major changes in the ways of Timarpur puja and modernized it. He introduced the exciting “ Lucky Dip” for the first time for raising funds. This became a popular draw every year thereafter. Once my mother [ Pratimadi] bought a lucky draw ticket for 50 paise in the name of “Bansuriwala” [ it was for me] and I won a Holdall[ called bedding in those days]
Then came 1969 and Ashis Kumar Dhar, the ubiquitous Dharda of all and sundry, became the Secretary of the TPCLPS. It was his enthusiasm and hard work by which the TPCLPS developed in every sphere from Canteen to pandal to quality of souvenir to Pratima. It was an all round make over. All members of the TPCLPS rallied around Dharda and contributed their might in making the puja a grand event.
Who can ever forget Lisha mashima, wife of Ashis Dhar. She also worked tirelessly in puja activities alongwith all ladies and children of Timarpur. She prepared the children’s programmes and rehearsals in her house were very enjoyable. I used to be a part of the troupe as a musician[ flautist]. What more, Dharda and Lisha mashima were excellent chefs and both in the pandal as well as in their house, used to treat us to excellent food. With the Dhars being there, everyone felt safe and confident. Their children Bubu, Soma and Shonti also endeared themselves to all of us through their sweet nature. They still visit the Timarpur pandal.
Anandomela was another event which comes to mind. Tasty food being displayed and sold on the Panchami or Sasthi evening was worth waiting for the entire year. I remember the year 1971 when we were getting ready for the Anandomela and then came a strong thunderstorm almost uprooting the pandal. We all held onto ‘Ballis’[ thick bamboos supporting the pandal]. One of my cousin Ranada who had come from Calcutta, also held one Balli. But he was such a light person that the wind took him off the ground and he was seen flying! It was a dreadful sight but in retrospect the incident evoked much laughters!
If we talk of Bhog ranna, one cannot but remember Sachida with his gamochha wrapped over a white pajama and sandow ganji. Durlovda is another name which is synonymous with Bhog. We always wondered what made the bhog so different and tasty and why we could not replicate the same taste when we cooked the khichuri and other vegetables at home. Answers have not been found till today. Saub mayer kripa![ all for Durga’s benevolence and goodness] The bhog scene cannot be complete without a mention of Alok Biswas [ whom we lost recently], Sudhir Ghosh, P.D. Roy and our puja lifeline Naruda[ Soumen Ghosh].
Coming to the Sandhya Aroti at the pandal- An event I never missed [ and do not miss even today whenever I am at Timarpur].I remember once I was down with a bad cold and my father [ Sushilda] gave me his favourite cough syrup ‘ Benadryl’ and I went to sleep for hours. I missed the Sandhya aroti. I wept as the evening had gone and the aroti was over. Such was the value of our being at the pandal. I used to play the drum [ more appropriately dhol] those days. Dhunuchi nritya was another fascinating event. A few names which come to mind are Nikhilesh Kaku and Niluda, son of Nirodbabu of Kalika Bhandar fame, who would dance with kids on his shoulders. Amongst ladies, Titudi [ Shubhra Chatterjee] was the cynosure.
Imagine a four seater phatphati arriving at the Timarpur pandal at about 12 midnight with film cans and creating an excitement without limits. Yes I am reminded of the ‘Whole night’ film shows at the pandal. Film cans would be rotated amongst different pandals such as Shahadra, Kamala Nagar and Karol Bagh.Those days the film show was an event to wait for. For months before the puja, we used to discuss the Uttam Kumar movies which would be screened and the person who appeared most excited at our home was Pratimadi, my mother. I was told by her that in good old days, film reels would not arrive on time and they would return home only to return to the pandal when boys would visit every home to inform about arrival of the projector and films. Those were the days my friend. There was a mad rush on the nights of Ashtami and Navami when films would be shown. The Pandal would be chock-a-block with people flocking from far and near besides local crowds. Films would continue till wee hours of the morning when they would hardly be visible on the white screen with sunlight in the background. The only person who never watched the films was Sushilda who would return home after working in the canteen for the entire day.
Canteen occupied another important place in the puja celebrations. Initially it used to be a humble venture with my father [Sushilda] looking after it but with the advent of Dharda, it became more adventurous and colorful. Later Naruda and Sukuda added more variety to the canteen. I was also quite active in the venture. The young brigade brought more ideas to making the canteen a place to reckon with. Khuranaji brought mouth watering eatables to the canteen and all of us looked forward to eating the chicken tangri, Biriyani, Mutton kasha and roomalis each night. Priya[ darshi] also played an active role.
The competitions in the pandal such as On the spot painting [where Pampa Paul, Suparna Purkait and Shonti excelled], Alpana, Shankha Dhwani [yours truly was champion a few times but solid performers were Dhar da and Liltu], Haatey Handi Bhanga, Recitation and sports were popular events. The oral quiz was first introduced in 1988 during our 75 years celebrations. I was privileged to conduct the first oral quiz, at the initiative of Pintu[Partha Chakraborty]. Every year that followed, the quiz was one of the most keenly awaited event.
The day of Ashtami would always bring all past and present residents of Timarpur and every nook and cranny would be occupied. You could see friends meeting after long time having adda sessions after the Pushpanjoli. Bhog eating was another event where people would unite and have community lunch.
Days of puja somehow managed to fly faster than other normal days and the final day of Dashami would take us all to the Bela Road immersion ghat. Timarpur since time immemorial went for Bhashan in a bullock cart. During one of the Bhashans, our bullocks got into a playful mood and went berserk. In the melee that followed Sankar Sanyal and Sushilda got minor injuries. We all would follow on foot chanting ‘Abaar Kaube Bauchhor Paure’ and ‘Aschchhe Kaara Timarpur Jachchhe Kara Timarpur’ and ‘Durga Mai Ki Jai’ The cheer leader was Gadaida and before him Dulalda. On the return journey, children would ride the bullock cart back to the puja pandal and we returned on foot or took a bus. Santijal would be administered by purutmoshai. Boondi and sweets would follow and Surjoo sometimes made ‘Siddi’ also.
Any memoir on the Timarpur puja would be inconclusive without an allusion to the role played by the Majumdarkaku’s shop in puja preparations. TPCLPS though a very old institution, did not possess any permanent office or club house. The only place to congregate was Sitanghsu and Sasanka Kaku’s shop. Our puja ‘ Porikalpana’ will take shape there over cups of tea from a nearby shop and cigarettes from the adjacent shop of Narayan’s father and later Narayan himself. Probirda and Adhirda also ran the shop. Even after the puja was over we used to assemble there to tide over the hangover.
The TPCLPS has come a long way and will celebrate its 100 years in 2013. Memories of our days spent at Timarpur will never fade and I still vividly recall the puja days after so many years of my existence outside Timarpur in far off places in Assam and West Bengal. I am again coming ,Timarpur, in 2009!
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