The festival’s name, Durga Pooja, is derived from two Sanskrit words: ‘Durga,’ which refers to the goddess's name itself, and ‘pooja,’ which means worship. Together, they signify the worship of Goddess Durga, acknowledging her role as the protector of the universe and destroyer of evil. 

The festival's origins are deeply rooted in ancient texts, scriptures, and Indian mythology, dating back a few thousand years. Its oldest mentions are in various Puranas. One is in the Markandeya Purana, which discusses the legend of Goddess Durga and the buffalo demon Mahishasura. As per the legend, Mahishasura, a destructively powerful demon who could transform into a buffalo, once obtained a boon from Lord Brahma that made him nearly invincible. Caught in the pride of this boon, he managed to wreak havoc and disaster amongst the heavens and earth, disturbing the cosmic balance. The challenged and weary gods sought help from the holy trinity of Lord Brahma, Lord Vishnu and Lord Shiva, who created Goddess Durga in response to the pleas. Each of their divine energies was combined to create Goddess Durga, making her the most fierce and powerful goddess. According to the legend, Goddess Durga engaged in a fierce ten-day-long battle with Mahishasura, ultimately marking his end on the tenth day. The day is believed to be celebrated as Vijaya Dashami, which means victory, and Dashami, which refers to the tenth day, hence translating to the triumph of good over evil on the tenth day. 

An essential aspect of the festival is the invocation of Mahalaya, a period that marks the beginning of Goddess Durga’s descent to Earth. It is celebrated with rounds of early morning recitations of the Chandipath, a collection of hymns, prayers and verses from the Markandeya Purana, etched in honour of Goddess Durga’s victory. The soulful rendition of the Mahishasuramardini, a collection of devotional songs, also stirs the air with a sense of umpteenth devotion. Communities and neighbourhoods collaborate to create pandals, organise cultural programs, and prepare communal feasts that are all enjoyed together. 

Historically, the celebrations of Durga Pooja date back to the Vedic period. Its earliest records are from the 16th century, during the reign of Malla kings in Bengal. By the 18th century, it had become a grand socio-cultural event celebrated with great pomp and glamour by the wealthy zamindars of Kolkata, encouraging the community to participate in the celebrations. 

Culturally, Durga Pooja is a testament to the period of renewal and festivity that coincides with the harvest season. It heralds the beginning of autumn festivities and makes way for the grand festival of Diwali. Durga Pooja is more than just a religious event; it is a beacon of unity and inclusivity. It brings communities together, transcending social, economic, and spiritual barriers. People from all walks of life gather to organise and celebrate this joyous festival, fostering a sense of community and belonging. Durga Pooja also represents India’s artisanal communities and craftsmen's cultural heritage. The meticulousness of creating the idol, the elaborate decorative pandals, and the traditional folk music and dance are all strong representations of India's rich and diverse artistic traditions. Artisans and craftsmen spend months in preparation as they manifest the art and devotion passed to them through generations of their forefathers. 

The festival also celebrates and honours feminine power in many forms. People celebrate women as mothers, warriors, and protectors, which highlights the respect amongst women in society. The immersion of the idol in water at the end of the festivities signifies the goddess' return to her celestial abode and the cyclic nature of life and death. 

Durga Pooja is the most significant festival in West Bengal, especially in Kolkata. It is a ten-day spectacle that begins with Mahalaya, a day for offering the tarpana. It is a ritual where Hindus offer water and food to their ancestors. It is also believed to be the day of the start of the arrival of Goddess Durga from her celestial abode in Kailash. The major festivities begin on the sixth day, also known as Shashti. The goddess is welcomed with an air of festive atmosphere all around. People perform the Bodhana, a ritual where the goddess is awakened and invited to reside within the artistically decorated pandals. This day involves consecrating the goddess into a clay idol through the rites of ghatasthapana and pranapratistha. The next day is called Saptami, which translates to the seventh day. It is marked by the Navapatrika Snan, a ritual bathing of a bundle of nine different plants symbolising the goddess. They are a representation of Goddess Durga’s power inherent in nature. 

Ashtami, or the eighth day, is the most significant day of celebration and rituals. It is marked by the celebration of the Sandhi Puja, which is performed on the cusp of Ashtami and Navami. It commemorates the moment when Goddess Chamunda and the aspect of Goddess Durga emerged from her third eye to defeat the demons, Chanda and Munda. The ritual involves offering 108 lotuses and lighting 108 diyas, symbolising the fierce battle of good over evil that was fought. Navami sees the continuation of worship with homa or fire oblation rituals and offering bhog or food to the goddess. Some regions also perform the Kumari pooja as a symbol to honour young girls and celebrate divine femininity. Communities indulge in cultural performances and community feasts on this day. The tenth and final day, also known as Vijaya Dashmi, is celebrated to signify Goddess Durga’s victory over Mahishasura. It is celebrated with Sindoor Khela, a communal ritual where women smear vermillion on the idols and each other, wishing strength and marital prosperity. The day marks the end of Durga Pooja celebrations as the idol is ceremonially immersed in ponds, rivers or seas, symbolising her return to Kailash. 

The celebrations in Kolkata feature traditional music, dance performances like Dhunuchi Naach, and the rhythmic beats of dhak (traditional drums), creating an atmosphere of joy and unity. One of the most famous pandals, the Kumartuli Park Pandal, showcases the craftsmanship of the idol makers from the Kumartuli area, known for their exquisite artistry. Assam also celebrates Durga pooja with great zeal and enthusiasm. The traditional naam kirtan is unique to the local Assamese celebrations as they prepare delicacies like pithu or rice cakes and laru. In Guwahati, the celebration at the Latasil Ground is particularly famous, where people from all over the city gather to witness the grandeur of the pooja and participate in vibrant cultural programs that include Bihu dance performances and classical music recitals. In Odisha, Durga Pooja is celebrated as a part of the greater Dussehra festivities. The highlight here is the Ravana Podi, where Ravana's idol is burnt to symbolise the victory of good over evil. 

The festival is celebrated enthusiastically, reflected in the dazzling array of traditional clothing that men and women showcase. It reflects century-old traditions and artisanal craftsmanship. 

Women are seen adorned in a quintessential saree. The Laal Paar Sada Saree is the traditionally acclaimed choice for Bengali women. It is a white cotton saree with a red border for daytime rituals. The white symbolises purity and devotion, and the red represents fertility and strength. It is made of silks like Garad and Baluchari for evening festivities with intricately woven motifs from mythological scenes. The weaving techniques used to create these marvels are integral to Bengal's ancient cultural heritage. Weavers in regions like Murshidabad, Bishnupur and Nadia are maestros in this art.

In Assam, women are usually seen draped in the Mekhala Chador. It is a two-piece garment made of lustrous Assam silk. The mekhala is a skirt, and the chador is the upper drape made of Assam silk like Muga, Pat and Eri. It features intricate handwoven patterns and motifs like flowers and birds. Odisha sees their women clad in Sambhalpuri sarees. They are ikat sarees that feature traditional motifs like shells, flowers and wheels. Ikat is a weaving technique that involves meticulous tie and dyeing of the pattern on the threads before weaving the saree by hand. 

Men’s attire for Durga Pooja is centred around wearing a dhoti and kurta. In Bengal, men wear the traditional dhoti called dhuti, which is paired with a panjabi or a kurta. The Panjabi is crafted from cotton or silk and features subtle designs in embroidery. The intricate designs are usually motifs inspired by geometrical patterns. Men opt for rich silk panjabis during the evening festivities. The dhoti is a long piece of cloth, traditionally worn in white or cream colour during Durga Pooja. 

In Assam, men are typically seen wearing a Suria, a traditional piece of long cloth tied around one's waist and paired with a gamosa draped over the shoulder. Gamosa is a conventional Assamese cloth that is often white with red borders. The Suria and gamosa are a testament to the rich weaving culture of Assam and the importance of ceremonial attire. Men in Odisha are seen wearing a dhoti and kurta, which are not too different from Bengali men. The dhotis are usually white or cream, and the kurtas are light-coloured, often featuring local embroidery like pattachitra that manifests itself into designs of mythological narratives and folk stories. Every piece reflects the cultural heritage of Odisa’s textile artisanship.