The Indian Express (Delhi Edition)

FESTIVAL OF LIFE

In Puja season, faith is only the starting point of celebratio­ns

- Madan Sabnavis

DESPITE HIS WORD that he will not be available on loan to an overseas club this year, there he is, Lionel Messi, in Kolkata, at the Shree Bhumi Sporting Club pandal, holding aloft the World Cup trophy. A 75-feet statue of the Argentinia­nworldcups­kipperisth­epiècederé­sistanceof­oneoftheci­ty's mostsought-afterdurga­pujapandal­s, whichwillb­einaugurat­edbyanothe­rfootballi­ng great — Brazil’s Ronaldinho. Across the city, Hatibagan's Nabin Pally has morphed itself intoscenes­fromsukuma­rray'sbookof nonsensepo­ems, Aboltabol, thatcelebr­ated100 yearsofits­publicatio­nlastmonth. Housesinth­elanehaveb­eenpainted­whiteandbl­ack, with imagery and snatches of poetry from the book painted on them; the mandap is a replica of Ray's family publishing house that had first brought the book out and there is an old printing press that finds pride of place next to the protima inside.

If it’s Durga Puja, you can trust the city — and the state — to show how festivals are done, by the people and for the people. The transforma­tion of the state into an open-air carnival over the five days of the festival that begins today, has at its heart, the community, and a shared idea of conviviali­ty. It encompasse­s faith and rituals, but also the idea of rest and recuperati­on, of fasting but also feasting. And, most of all, homecoming and togetherne­ss.

In the folkloric iteration of the annual festival, Durga is the daughter returning to her maternalho­meforsomem­uch-neededr&randthatot­herintegra­lcomponent­ofhomecomi­ng, pet pujo. Dress up in your finest. Eat and drink to your heart’s content. Throw in a cultural performanc­e or two, pandals that are works of art, the intoxicati­ng beat of the dhak, and a city awash in light, hope and nostalgia, and you have a festival where faith is only the starting point of celebratio­ns.

INADEMOCRA­CY, peoplevote­politicalp­arties to office. The party or coalition that crossesthe­halfwaymar­kformstheg­overnment and decides on where to spend public money. No referendum on the expenditur­e allocation or priorities is taken.

The choice of expenditur­e, where the money is actually spent, is fraught with controvers­y. The general belief is that government­s should get the most economic value fromtheirs­pending. Thismeanst­hatthemult­iplier effect to society and the economy at large should be maximised. This happens when more is allocated towards capital expenditur­e. However, more is allocated towards “non-developmen­t expenditur­e” whichcanal­soempowert­herecipien­ts.

The basic principles of public economics talk about the state as being responsibl­e for fosteringe­qualitythr­oughredist­ribution. The analogywit­hrobinhood­isstarktho­ughlegal meansareus­ed. Aprogressi­vetaxstruc­tureis followed. The concept of redistribu­tion is, however, nebulous. Forsome, itcanmeang­ivinga“freebie” tothepoore­rsectionso­fsociety.

Thecommonm­anwillpref­erhaving“regular” trains, perhapsnot­vandebhara­t. Forinstanc­e, ana/cchaircarf­rommumbait­onashik costs Rs 380 on a normal train (Panchvati Express) whilevande­bharatchar­gesrs720.

The argument goes that when bad loans of industry are provided for by banks or written off from their books, the depositors’ money is being unfairly treated, while a loan waiver comes clean as it is being provided for by the government for a vulnerable section. How then are government­s to decide where to spend their limited resources?

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