Ancestral Whispers, Divine Echoes

Every culture has its own ways of remembering the past, honouring the ancestors, and invoking the spirit of divinity. In Hindu tradition, one such sacred observance is ‘Pitri Paksha’ – a fortnight dedicated to paying homage to departed souls. It is also during this time that one of Bengal’s most cherished cultural moments unfolds – the broadcast of ‘Mahalaya’, an invocation of Goddess Durga, immortalised in the powerful voice of Birendra Krishna Bhadra, whose 120th birth anniversary is being celebrated this year.

THE PIOUS PITRI PAKSHA RITUAL

‘Pitri Paksha’, also known as ‘Shraddha Paksha’, is a 16-day lunar period in the Hindu calendar dedicated to ancestors. It is believed that during this time, the souls of forefathers descend to earth to bless their descendants. Hindus offer pind daan (rice balls, black sesame, and water) along with prayers to ensure peace and liberation of the souls. Scriptural references abound in texts like the ‘Garuda Purana’, ‘Agni Purana’, and the Mahabharata, where even Karna, the hero, returns for 16 days to perform these rites for peace to his ancestors.

The scriptures emphasise that no prayer to the divine can be complete without first remembering one’s ancestors. ‘Pitri Paksha’, therefore, is not just ritualistic. It embodies gratitude, continuity of lineage, and the reminder that one’s existence is woven into generations past. It further prepares the spiritual ground for the worship of Goddess Durga, who is invoked at the end of this fortnight.

Mahalaya, rooted in ancestral worship through rituals like ‘Shradh’, ‘Tarpan’, and purifying baths, culminates on ‘Mahalaya Amavasya’, marking both homage to ancestors and the beginning of Devi Paksha – the descent of Goddess Durga from Kailash to Earth. Traditionally, it coincides with the sacred ‘Chakkhudaan’ (eye-offering), when eyes are painted on the Durga idol. Since September 22, 1931, Mahalaya has also meant waking at dawn to Birendra Krishna Bhadra’s immortal recitation of the verses of Chandi known as “Chandi Path’ on All India Radio. Blending verses, devotional songs, and narrative, this broadcast transformed a private ritual into a shared cultural celebration, signalling the spiritual and festive countdown to Durga Puja for Bengalis everywhere.

HISTORY AND MAKING OF AN EPIC

In the 1930s, amid India’s struggle against colonial rule and its quest for cultural identity, ‘Mahalaya’, meaning ‘The Great Moment’, emerged as a unique blend of tradition and modernity. Traditionally marking the advent of Durga Puja, Mahalaya was transformed into a mass cultural event through the new medium of radio. A group of visionary artists and intellectuals saw the potential of broadcasting the epic hymn Mahishasura Mardini to reconnect people with their heritage and instil pride in India’s spiritual and artistic traditions. This initiative not only revived ancient rituals but also gave them a modern platform to reach millions.

Central to this transformation was Birendra Krishna Bhadra, whose deep, resonant baritone became synonymous with Mahalaya. Born in 1905 in Calcutta, Bhadra was a trained classical musician and Sanskrit scholar, perfectly suited to narrate the hymn composed by Banikantha Nimai Charan Chattopadhyay (Bani Da) and set to music by Pankaj Mullick. Bhadra was also a playwright, theatre director, and actor.

Bhadra’s soulful recitation transported listeners into the mythic battlefield of Goddess Durga and Mahishasura, making the broadcast more than a performance – it was a spiritual journey. When the first Mahalaya was aired on All India Radio in 1931, it captivated audiences across Bengal and soon became an integral part of the Durga Puja tradition, uniting people beyond religion and region.

This magic of Mahalaya was crafted by a collaboration of talents under the aegis of All India Radio (AIR), Calcutta. Beyond music and Bhadra’s voice, the recitations were woven with songs rendered by legends like Hemanta Mukherjee, Dwijen Mukhopadhyay, Sandhya Mukherjee, and Manabendra Mukhopadhyay, making the programme a tapestry of devotion and artistry. What emerged was not just a broadcast but a cultural landmark – an experience that merged spirituality with artistry, etching itself into Bengal’s collective consciousness.

It was Birendra Krishna Bhadra’s voice in Mahishasuramardini that immortalised him. Bhadra had an extraordinary gift – the ability to evoke emotion and spiritual depth through his pronunciation and cadence. In his recitation, listeners felt the cosmic battle between good and evil unfold. His chants carried the force of conviction, reverence, and surrender, making people believe they were part of the divine invocation.

Yet, Mahishasuramardini was not free from controversy. In the 1930s, some sections of society opposed Birendra Krishna Bhadra’s recitation of the Chandipaath, arguing that he was not a Brahmin. Bhadra, however, would respond with humility: “Ami path kori na, ami pujo kori” (I do not merely recite, I worship). And when his resonant voice filled the air at dawn on Mahalaya, it felt as though the entire city was immersed in worship.

It is also vital to mention here that the programme, though once presented as a live performance, was first recorded in 1958 and, from 1966 onwards, began airing only in its recorded form. It was during the Emergency period of 1976 that All India Radio attempted to give it a new face under the title ‘Durga Durgatiharini’. This involved replacing the familiar voice of Birendra Krishna Bhadra with the legendary film star Uttam Kumar, and substituting the music direction of Pankaj Mullick with that of the celebrated Hemanta Mukhopadhyay. Artists like Lata Mangeshkar and Asha Bhosle were involved in the rendition of songs. The experiment, however, proved disastrous. Audience outrage was immediate and intense, compelling All India Radio to apologise publicly and reinstate the original broadcast.

Letters poured into AIR, protests arose, and the station was forced to restore the original recording the following year. Uttam Kumar himself, reportedly embarrassed by the reception, acknowledged that some roles are beyond even the greatest of actors. The incident became a lesson in how cultural icons cannot simply be replaced by star power.

This episode not only reinforced Bhadra’s stature as a cultural icon but also ensured that his rendition became inseparably linked with the spirit of Mahalaya and Durga Puja. The incident later inspired the 2019 film ‘Mahalaya’, which depicted the life and legacy of Birendra Krishna Bhadra.

Over nine decades later, Birendra Krishna Bhadra’s two-hour and 15-minute-long Mahalaya programme, ‘Mahishasuramardini’, continues to be broadcast every ‘Mahalaya’ morning – this year on September 21, 2025 – unchanged, unchallenged, and still deeply moving. In an era dominated by digital media, remixes, and shifting tastes, its permanence is a testament to its authenticity and artistic integrity. In today’s fast-paced life, where spirituality often gets reduced to fleeting social media posts, Mahalaya reminds us of the power of shared cultural experience. At a time when voices fade quickly in the din of digital noise, Birendra Krishna Bhadra’s voice continues to echo across Bengal and the global stage, reminding us of devotion, continuity, and reverence.

In the quiet hours of Mahalaya morning, when his baritone echoes “Jago Tumi Jago…”, millions still awaken not only to the dawn of Durga Puja but also to the eternal truth that faith, when voiced with sincerity, becomes immortal.