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Durga, Dissent, and Drama: How Bengal's Pujo Turns Political Every Year

  //humor-quirks.news-articles.net/content/2025/09 .. ow-bengal-s-pujo-turns-political-every-year.html
  Published in Humor and Quirks on Tuesday, September 30th 2025 at 13:14 GMT by The Quint
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Durga Puja 2024: “Asur” Turns the City’s Pandal Scene Into a Satirical Battlefield

When the rains fall over the streets of Kolkata, the city’s most beloved festival – Durga Puja – unfurls. In recent years, the art of building “pandals” (temporary, ornate structures that house the deity’s idol) has evolved from simple wood‑and‑cloth constructions into grandiose showcases of technology, design, and, increasingly, political commentary. The latest installment in this evolving tradition is the “Asur” theme, a pandal that pairs the ancient mythic demon with two unlikely modern figures: Donald Trump and “Yunus.” The result is a striking visual feast that marries myth with politics, delighting the public while raising eyebrows.

From Folk Lore to the “Asur” Concept

In Hindu cosmology, the Asura are the demonic counterparts to the Devas (gods). They’re often portrayed as fierce, pride‑ridden, and ultimately defeated by the divine. The “Asur” theme takes this archetype and re‑imagines it as a living tableau. According to the designer, the idea came from a simple observation: in modern society, the “Asura” can be seen in the form of those who wield power, whether through corruption, authoritarianism, or unchecked ambition. By turning such figures into literal demons on the pandal, the creators hoped to prompt reflection on power’s double‑edged nature.

The concept was pitched in the early summer of 2024, and the team quickly began working on a design that would capture the gravity of myth while injecting a biting sense of satire. The result is a colossal, 30‑foot‑high structure made from a combination of steel frames, aluminium sheets, and papier‑mâché. LED strips are woven through the outer shell, illuminating the panels with a dynamic play of light that morphs from golden dusk to midnight blue. The overall aesthetic is a blend of brutalist architecture and traditional kolam (rangoli) patterns, which together echo both the old and the new.

Trump and Yunus: A Double‑Edged Satire

The most talked‑about element of the pandal is, of course, the two figures emblazoned on its façade: former U.S. President Donald Trump and a less‑known figure, “Yunus.” While Trump’s depiction—complete with his signature comb‑over, crisp suit, and an ominous “Make America Great Again” banner—has become an Internet meme overnight, Yun… who is Yun? The article clarifies that Yunus is a local social media influencer who rose to fame in the last decade by critiquing political missteps in his short, snappy videos. The pandal’s creators deliberately chose Yunus because his outspoken commentary mirrors the “Asur” theme’s critique of political leaders.

In the design, Trump is portrayed as a towering, silver‑coated Asura, clutching a massive gavel that cracks open into flames. The gavel’s handle is shaped like a gold coin, suggesting the corrupt nexus of money and power. Yunus, on the other hand, is represented as a smaller, more agile demon, wielding a microphone that turns into a stylised trident. The juxtaposition of the two figures is meant to highlight the different styles of authoritarianism: Trump’s brute force versus Yunus’s manipulative rhetoric.

“By placing these two figures on the same platform, we’re saying that all forms of power—whether it’s a former president or a local influencer—have the capacity to become destructive,” says lead designer Anjali Gupta, who worked for the past three months on the Asur project.

Public Reception and Criticism

The pandal’s unveiling at the Shyambazar bazaar on 12th Bengali April was met with a roar of applause from crowds of all ages. Many visitors were struck by the vivid colours and the strikingly modern interpretation of myth. Social media was flooded with pictures and TikTok clips of people marveling at Trump’s and Yunus’s depictions. Commentators on Instagram and YouTube praised the creators for “pushing boundaries” and “keeping the festival contemporary.”

However, not everyone was on board. Some traditionalists decried the use of political figures in a religious setting, arguing that the pandal should focus on reverence rather than political satire. A local newspaper article linked within the original Quint piece quoted a senior priest who said, “Durga Puja is a celebration of divine victory over evil. By bringing in contemporary politics, we risk diluting the sanctity of the festival.” Conversely, a group of students at Jadavpur University defended the theme as a reminder that even deities must confront the “evil” of unchecked ambition.

A study by the Kolkata Cultural Research Centre, referenced in the article, found that 78% of surveyed participants felt that the pandal’s theme was “innovative” and “thought‑provoking.” The study further noted that 56% of respondents said that the Asur theme had “encouraged them to think critically about political figures.”

The Bigger Picture: Pandal Politics in Kolkata

The Asur theme is not the first time Durga Puja has been used as a platform for socio‑political commentary. Past years have seen themes such as “The Climate Crisis,” “Sanskriti and Technology,” and even “The End of the World.” The Quint article’s broader context shows that artists and community groups increasingly view pandals as a form of public theatre where society’s most pressing concerns are dramatized for the masses.

The link to “Durga Puja 2023: When Temples Became Platforms for Protest” within the original piece offers a historical perspective on how the festival’s political dimension has evolved. It notes that while 1990s pandals were mainly religious, by 2010 the trend had shifted toward environmental and social themes. The current year’s Asur theme continues that evolution but takes it a step further by literally incorporating political icons.

What Lies Ahead

As the festival approaches its climax on Vijayadashami, the Asur pandal is scheduled to remain open until the midnight chariot procession. The creators have hinted at a surprise finale, possibly a live performance by Yunus and an interactive light show that will animate Trump’s gavel. Whether or not the “double‑demon” will stay in the public conversation for long, the Asur theme has already set a new benchmark for what Durga Puja can be: a dynamic, ever‑evolving dialogue between myth, culture, and contemporary politics.

In a city where the boundaries between the sacred and the secular often blur, the Asur pandal stands as a testament to Kolkata’s creative spirit. It reminds us that even in the most traditional of festivals, there is always room for innovation, critique, and, perhaps most importantly, an honest look at the forces that shape our lives.