This is the second year this year that the enthusiasm of the drummers has cooled down and the activists have lost their composure.

Once a politically-socially conscious festival, it flourished with cultural events, but it also grew into a ‘consumer’ and ‘event’.

… In this chowk there is a song of Bhimsena in the evening, while in the chowk on the other side Gajanan Vatve is performing bhav songs. A thinker’s speech on the subject of ‘meaning of freedom’ is going on a hundred steps; So where is the symposium of scholars discussing the economic issues facing the country. Where famous poets meet and where storytelling. During the Ganeshotsav, everyone who was wondering where to go was literally rushing to satisfy their hunger for ideas and art. The success of a circle depends on which group gets the most crowds. Ganpati’s ten days were full of thinkers and artists. This was a great opportunity for him to go out in front of the community. She also used all her strength to participate in this festival. This is the time of well-known writers who started writing even before they were invited to write in Diwali issues. These are the days to measure success by how many points you attend. That is why there are so many invitations in Ganeshotsav. After independence, the occasion for social celebration of Ganpati at home was over, but to satisfy the cultural appetite, such public events were held on the occasion of the festival. The ideological and artistic convergence that took place during this period helped to increase the height of the society.

It is not really an Indian tradition to celebrate any festival in public. With a few exceptions, we are more interested in celebrating festivals in private. Our real tendency is to celebrate festivals and celebrations to meet each other, to maintain family intimacy. In the last few decades, however, a new method of making every festival and celebration public has become the norm. That is our tradition. This new way of celebrating has become socially acceptable, but it is doubtful whether the real joy is gone. On Diwali, we would get up early and go to public events. Holi or Dahihandi has now become an ‘event’. Ganeshotsav also started circulating on the same path. There were some special reasons behind Ganpati coming to the house. During the British rule, the government had to get permission to gather in public places for any reason. There was no need to take such permission in Ganesha festival. Using this facility, Ganeshotsav became public. Lokmanya Tilak took the initiative and tried to ignite the spark of freedom struggle. He is now more than three hundred years old. Now the festival is simply public and its original purpose is slowly coming to an end. The reason is the changing social structure and the complexities of life.

Ganapati is the deity of knowledge and art. The words ‘Tvamev Pratyaksham Tattvamasi’, ‘Tvam Sakshadatmasinityam’, ‘Tvamev Khalvidam Brahmasi’ are the words of Atharvashirsha which identify this deity. This deity is to be worshiped by thought and its interpretation. The main purpose of this festival is to worship the deity from Ganesh Chaturthi to Anant Chaturdashi with art and contemplation. These motives were fully utilized to get the people in the freedom struggle. In later times, the festival contributed greatly to the social upheaval. Only classical music or devotional music is to be performed in front of Ganapati, there is no place for chachor songs, the time has come to observe the punishment. There was a new culture that turned every event into an ‘event’. Entertainment became more valuable and Ganesha also became a ‘festival’. In the pre-independence period, fairs and fairs were held in the morning. Hirari’s participation in it was a sign of patriotism. Time passed, tastes changed, places of happiness also changed. Change is an integral part of life. With the advent of Chitravani channels, naturally, artists and thinkers could not wait for Ganeshotsav. If a political activist or a leader holds a program for his voters, it is a privilege to get an invitation from time to time. Just remember the songs that are made and popular for Ganeshotsav, but it should be funny. Whether it’s a recent remix of ‘Kolaveri’ or ‘Shantabai’, the demand for these songs is huge during the festive riots. Surveys’ interests changed and so did the decoration of Ganeshotsav.

The ‘status’ of the Mandal was determined by its scenes, its social connotations, its dolls, its many statues of history, its diversity, its artistry and its look at art. It was challenging for the decorators. Gradually, the congregations, which had been preparing for the year to collect the subscriptions and present scenes that touched the minds of the devotees, gradually became contracted. Decorative contractors were created. So the same scene spread from one city to another the following year. It was during this period that Toom came to decorate only lamps instead of presenting scenes. Then came the ‘dancing bulb’. The light dancing to the song became a novelty. Devotees also started going with this ‘unmatched’ power of technology. It’s relatively simple and contractual rather than appearances. However, the activists of the Mandal were not satisfied. From that then came the live scenes. The activists of the Mandal themselves started acting on the recorded dialogues. This newcomer is attractive but really. In Ganeshotsav Mandals, the competition started automatically. It’s all about art, about artists, about technicians. This created an atmosphere of competition even among the artists who were constantly trying to innovate and innovate. Completion of this transaction through subscription was almost impossible. As a result, the festival crowd became ‘customers’. Large billboards began to dominate the festivities. The board’s tent began to be filled with billboards. The Torah of these advertisements began to grow more than the name of the circle and the idol of the intellect.

Now Ganeshotsav has become a major center of financial transactions. Everyone from sculptors to balloons sellers and scene decorators to peanut sellers in the crowd began to benefit from the festival. Growing crowds is a basic need and the ‘age of sight’ should not go away. The ocean music worship of Lord Ganesha in the house now started according to Guruji’s recorded orders. Aarti’s collection began to consume. Yet the courage to read it was slowly lost. Aartya was recorded and made available and devotees were left with only applause. While the excitement of the festival is slowly changing, many are wondering whether the essence of the festival has survived or not. It is true that this year will be a similar one. But why shouldn’t it be assumed that the stagnation of the last two years has provided an opportunity to prepare for the coming time so that the coming time should not be devoured, new smoke should be blown and the spirit of society and culture should return to the festival?


Related Articles

Leave a Reply

Your email address will not be published.