India has local traditions similar to Halloween, including light, masks, and myths

Union Culture Minister Gajendra Singh Shekhawat stated on Wednesday that India is not merely a territory defined by geographical borders, but a cultural nation forged by millennia of continuity, knowledge, struggle, and experience.

Shekhawat's address took place during the presentation of the book 'Timeless India: Protection & Revival of Indian Cultural Identity under the Leadership of Prime Minister Narendra Modi' at Darohar Bhavan, the headquarters of the Archaeological Survey of India (ASI). The event was held in collaboration with the Indira Gandhi National Centre for the Arts (IGNCA).

The book was published by IGNCA and Subhi Publications, and it was edited by former Rajya Sabha member Tarun Vijay. Shekhawat emphasized that 'India is not just an object confined by geographical boundaries, but a cultural nation shaped by millennia of continuity, knowledge, spiritual practice, struggle, and experience. The civilization and cultural consciousness of India flowed uninterrupted through the ages.'

He added that India has established connections with civilizations worldwide through cultural exchange and dialogue. Its heritage in knowledge, architecture, and culture has attracted the attention of many countries.

During the colonial rule period, attempts were made to weaken the sense of pride among Indians regarding their culture, traditions, and civilization. As quoted by the IGNCA statement, the minister noted that this affected how Indians perceived their own traditions of knowledge and cultural ideals.

'A distinguishing feature of Indian civilization is its ability to draw inspiration from the past while moving towards the future. The ideals embodied by Lord Rama and Lord Krishna, along with the traditions of sages, thinkers, and seekers of knowledge, remain vital foundations of India's cultural consciousness,' he stated.

The book explores the role of monuments in preserving and reviving India's cultural identity, as well as discussions surrounding the nation's historical memory. Special attention is given to monument preservation and the concept of 'decolonization of national memory,' stressing the need to understand India's cultural heritage through its 'own historical experience, traditions, and cultural perspective.'

State Minister Jitendra Singh, a former Rajya Sabha member and ex-President of the Indian Council for Cultural Relations (ICCR), as well as Vinay Sahasrabudhe, were also present at the event. In a separate statement, the Ministry of Tourism announced that the Indian Culinary Institute (ICI) signed a memorandum of understanding with Jawaharlal Nehru University (JNU). This agreement allows JNU to recognize BBA and MBA programs from ICI, enabling JNU to award degrees to students who complete their studies at ICI.

The memorandum was signed by JNU Rector Santishri Dulipudi Pandit and ICI Director Gyan Bhushan in the presence of Shekhawat and Tourism Secretary Bhuvnesh Kumar. It is expected that the recognition of ICI programs at JNU, which will begin next academic year, will enhance academic and professional opportunities for students.

In the workshop of Joy Durga Bandar, located in Kumartuli, North Kolkata, Kaushik Ghosh begins work on an idol using a framework of bamboo and wood, which is tied together with jute rope. It is from this base that the sculptural figures, decorations, and layers of color seen by devotees during Durga Puja are formed.

Kaushik is well acquainted with this process. For many generations, artisans of Kumartuli have manually created idols from bamboo, straw, and clay to celebrate Durga Puja in Kolkata.

Over time, many workshops began using polystyrene decorations, synthetic paints, and plastic ornaments because they proved to be faster or cheaper to apply. However, Kaushik is seeking ways to return more traditional materials to his work.

He states: 'The frame, clay, straw—that has always been ours. Polystyrene and chemical dyes appeared later because they were cheaper and faster. I am returning to what came before.'

He is working to decorate the idols with natural clay, shola (a soft plant core used for fine ornamentation), and natural dyes instead of polystyrene. Every year after Durga Puja, thousands of idols are immersed in the Hooghly River and other water bodies. According to The Times of India, in 2025, about 5200 idols were immersed in 34 main Hooghly ghats and approximately 30 other water bodies in Kolkata and its surrounding suburbs.

City workers clean up the immersion sites from debris, but polystyrene and plastic decorations require careful collection and disposal as they can persist in the environment. Neel, a volunteer who has cleaned the banks of the Hooghly near Babughat for several seasons, recalls finding floating polystyrene, colored remnants near the banks, and plastic ornaments accumulated along the ghats.

For Kaushik, the main task is to make the decorations less wasteful while maintaining the accessibility of the craft for families who depend on it.

During the Navratri period, religious fervor reaches its peak across the country, with crowds of pilgrims flocking to both temples and Durga Puja pandals. The city of Prayagraj has become a center of attraction due to its unusual thematic pandals. Some reflect Bengali culture, while others recreate the splendor of the famous Menakshi Temple in South India. Among the exhibits, one can see amazing works created from bamboo and palm leaves, as well as pavilions conveying a patriotic message through images of Mother India and the tricolor.

Pilgrims and tourists travel to Prayagraj from afar to view these pavilions. In the Ashok Nagar area, a pandal was decorated in honor of Bengali identity, using the theme of 'Dhak'—huge traditional drums. The entire pavilion is shaped like a dhaka, inside which stands a majestic statue of Mother Durga. People from the Bengali community perform Aarti to the Mother in traditional attire, offering praise to the sound of the dhaka, creating a unique atmosphere of devotion.

The pandal in Tagore Town is dedicated to the theme of environmental protection. Attractive decorations made of bamboo and palm leaves were used here. Various items related to crafts and rural life, such as pots and handmade goods, were created. This pavilion, made without the use of plastic and artificial materials, impresses visitors who note the skill and imagination of the artists.

The pandal in Darbhanga Colony is stylized after the famous Menakshi Temple from South India. From the outside, the magnificent architecture of the temple attracts the attention of pilgrims. Upon entering, visitors are greeted by beautiful statues of various deities, including Lord Jagannath, Lord Shiva, Goddess Lakshmi, Lord Ganesha, and Goddess Saraswati. The central place in the pavilion is occupied by the majestic statue of Mother Durga, which adorns the entire pavilion, leading to a large gathering of people.

The pandal in Kareli transports viewers to the past, showcasing many antique items that the younger generation is gradually forgetting. A special feature of this pavilion is a vintage car, a manually driven taxi from Kolkata, old teapots, and other historical artifacts from past eras. Pilgrims photograph these old memories and highly appreciate the artists' concept.

Meanwhile, the pavilion in Dhumanganj carries a message of both devotion and patriotism. A pavilion of Mother India has been created here, and the tricolor proudly flies at the top. The sight of Mother Durga alongside Mother India and the national flag fills the pilgrims with a special sense of inspiration. Visitors describe this as a unique fusion of faith and patriotism.