Purbasha Roy held her 9-year-old daughter’s hand and pointed towards the towering artwork set up: blooming pink buds symbolizing embryos, menstrual cups formed to type a bouquet, fallopian tubes descending from corners of the ceiling.

The work, a part of a makeshift pavilion to worship the Hindu goddess Durga, was designed to interrupt taboos in India about menstruation. And it had a transparent goal: A half-man, half-bull demon at Durga’s toes, an organizer defined to Ms. Roy and others, represented the “moral police” — India’s patriarchal society.

The pavilion was considered one of a whole bunch, many politically pointed, that dotted Kolkata throughout a five-day pageant referred to as the Durga Puja, an occasion that brings this muggy, sleepy metropolis alive every year as if jolted by a high-voltage present. Part Mardi Gras, half Christmas, the pageant, which ended on Tuesday, is crucial spiritual celebration for Hindus on this a part of jap India.

From the dense warrens of outdated Kolkata to the town’s parks and residence compounds, the makeshift pavilions, a lot of them wildly elaborate and colourful, function handmade idols of the three-eyed goddess Durga, her 10 arms splayed out. The goddess, clutching a spear and a membership, embodies each martial prowess and mild motherliness — the victory of excellent over evil.

Over the previous few years, the pageant pavilions have morphed from conventional artworks to high-tech installations representing progressive concepts, at the same time as Prime Minister Narendra Modi’s right-wing Bharatiya Janata Party has tightened its grip on India.

The themes this 12 months included the hardships confronted by auto-rickshaw drivers; little one labor and trafficking and the sexual abuse of younger ladies; and the struggling within the Indian state of Manipur, the place Mr. Modi has been accused of indifference amid lethal ethnic warfare. An set up of a crying mountain symbolized the ravages of local weather change. Social staff invited 5 feminine victims of acid assaults to a pavilion on the topic.

The pavilions carried the message that India stays a nation of various beliefs, with resistance to the B.J.P. and its push for Hindu homogeneity nonetheless alive and effectively exterior the occasion’s stronghold in populous and comparatively impoverished North India.

The B.J.P. has struggled to interrupt into the jap Bengal area, a leftist bastion the place Kolkata is the cultural coronary heart. The state of West Bengal, which lengthy had a Communist authorities, is now led by the Trinamool Congress, a center-left secular occasion.

Tapati Guha-Thakurta, a historian who has traced the event of conventional worship to its up to date manifestations and helped get the pageant on UNESCO’s record of intangible cultural heritage of humanity in 2021, mentioned the occasion performed an vital position in Kolkata’s “sociocultural and political scene.”

The state’s chief minister, Mamata Banerjee, has used the pageant to “highlight her governance and project a secular outlook,” Ms. Guha-Thakurta mentioned. The B.J.P., she added, has supplied its “brawny North Indian Hindutva,” or Hindu nationalism, as a distinction earlier than a common election subsequent 12 months.

A pageant pavilion put in by an area B.J.P. politician, Sajal Ghosh, featured an imposing reproduction of a Hindu temple being constructed on the website of a destroyed mosque in Ayodhya, a extremely charged image that Hindus and Muslims have clashed over for many years.

The temple, devoted to Lord Ram, is a core ideological challenge of the Hindu proper wing, and its anticipated opening early subsequent 12 months is prone to be a predominant spiritual speaking level for Mr. Modi and his occasion earlier than the election. Hindu nationalists have more and more embraced the male god Ram and solid him as warlike, in distinction to the varied expression of Hinduism round different deities exterior North India, with the goddess Durga being the principle one in Bengal.

On Saturday, Mr. Ghosh shook arms with onlookers and shouted “Jai Shri Ram,” or “Hail Lord Ram” — a frequent right-wing struggle cry in opposition to spiritual minorities — in a bid to evoke the crowds. The similar chant additionally blared from loudspeakers.

Thousands of males, ladies and youngsters, their sweaty our bodies pressed in opposition to each other, jostled for house to click on selfies with the temple reproduction because the backdrop. Mr. Ghosh, who had traveled to Ayodhya to get actual measurements, mentioned these selfies, certain to be shared far and extensive, are “my prize.”

Jawhar Sircar, a member of Parliament representing the Trinamool Congress, mentioned that the B.J.P. didn’t perceive the syncretic tradition of Bengal, a area that continues to be Hindu and follows a social construction of “giving freedom to women.”

“The B.J.P. suffers from what we call the homogenization fever,” Mr. Sircar mentioned. “They feel that the whole of India must be in that homogenic line of a central worship. The Ram temple signifies that. What they forget is that India is a confederation of ideas and cultures.”

The divergence in Bengal might be seen within the menstruation pavilion. The chief organizer, Ellora Saha, an area Trinamool Congress politician, defined to a rapt group of men and women {that a} younger woman depicted within the set up was pushing in opposition to a hand consultant of an “evil society” that bars her from coming into temples throughout her interval.

“Without the menstrual cycle, a woman is incomplete,” Ms. Saha mentioned. “God has blessed us through this system to give birth to a new life. And that is nothing to be ashamed about.”

“Durga Puja is all about empowerment of female powers,” she added. “And if we can worship an idol, why don’t we every single woman?”

Not the entire pageant’s pavilions, often called pandals, had a political message. Some served as an escape from the drudgery of every day life, transporting the burgeoning center lessons to faraway lands. Disneyland, as an illustration, or Hogwarts.

Crowds pressed from one pavilion to a different on foot, decked out of their finery, with some strolling miles for “pandal hopping.” The perfume of recent marigolds and tuberoses mingled with the odor of incense. Rhythmic beats of conventional percussion devices might be heard from afar. Sweets outlets and stalls promoting noodles or puchkas, a deep-fried Kolkata avenue meals, did a brisk enterprise.

Still, many festivalgoers like Ms. Roy mentioned they most popular the pavilions with “social messaging more than the blingy ones.”

“Day by day, Pujas are turning a new page. And my daughter is not going to follow the taboos we were made to,” Ms. Roy mentioned as she checked out her 9-year-old, Reetika.

Bhabatosh Sutar, an set up artist, mentioned he had determined to create a pandal after being shaken to his core by the information of ladies being paraded bare throughout the ethnic violence in Manipur. His pavilion, referred to as “Gano Devta,” or “Deity of the Masses,” featured a 15-foot idol of a lady symbolizing Durga. The idol was tough and colorless, with bruises throughout.

At the pavilion on little one trafficking and sexual assaults in opposition to ladies and ladies, Sritama Adhya, 27, stood in entrance of an set up manufactured from an enormous brown sack from which a bit of woman’s arms and legs protruded, her rotund face sticking up on the prime.

“This art installation will spread a message to the masses,” Ms. Adhya mentioned. “I would say this kind of Puja installation which gives a social message while maintaining the religious aspect of this tradition is more meaningful than a replica of a yet-to-be-constructed temple.”