How Durga Puja Becomes The Lifeline of Cuttack Silver Filigree Industry

In the narrow lanes of Cuttack's Mangalabag and Naya Bazaar, the gentle tap-tap-tap of tiny hammers creates a rhythm that has echoed for over five centuries. Yet contrary to romantic notions about dying traditions, this ancient silver filigree craft—locally known as tarakasi—experiences its most vibrant commercial resurrection not through government schemes or export markets, but through the devotional fervour of Durga Puja.

The Seasonal Economic Miracle

The numbers tell a remarkable story. More than Rs 40 crore worth of intricate silver filigree works and nearly Rs 20 crore gold ornaments are used for decorating idols and tableaux during Cuttack's Durga Puja, transforming what many assume is a struggling heritage craft into a thriving seasonal economy.

Pankaj Kumar Sahoo, a second-generation artisan whose family has practised this craft for over four decades, explains the transformation: "This business definitely grows during August and September. It's a big market during that time. Even before August, work starts coming in." His workshop, like many others, begins preparing months in advance. "Otherwise, preparing silver ornaments can take a minimum of two years for some orders. Silver preparation can reach up to 200–300 kilos depending on the order."

In previous years, the city featured 35 tableaux, but this year the count has risen to 37 with two new additions at Gopaljiu Lane and Jobra. Orders are placed not only for crafting new tableaux but also for cleaning and refurbishing the older ones—a process that typically takes 10 to 12 days. For many artisans, this seasonal work provides the livelihood that supports their families throughout the year.

This seasonal surge isn't merely about increased demand—it's about economic dignity. Silver filigree work has become the primary source of livelihood for nearly 50-60 artisan families, with demand for Chandi Medha growing each year, fetching more orders and consequently more income. Yet the reality is more complex than these encouraging figures suggest.

The Artisan's Paradox: Prosperity and Precarity

Sudarshan Behera, or as he is lovingly called Sudam Babu, who has spent four decades perfecting his craft, offers a more nuanced perspective: "For a silver piece, it takes about one year, maybe more, depending on the size and complexity. It needs four artisans, four people working together." This labour-intensive process means that whilst Durga Puja brings prosperity, it also exposes the industry's structural vulnerabilities.

The government support that should complement this festive boom remains largely illusory. "The Chief Minister once said that assistance would be given again, but it hasn't been distributed fully," Behera notes with resignation. "They have plans to open centres, but so far only about ten thousand crores rupees have been sanctioned, and though it is huge, it's taking a long time to be implemented."

More damning is his observation about corruption in the system: "Out of ten people, nine are being cheated by officers. The artisans lose out. Nobody is opening centres for artisans. They just talk."

The Chandni Chowk Puja Committee member acknowledges these challenges: "We try to support our artisans with advance payments and material costs, but the real change needs to come from sustained market development, not just festival seasons."

Beyond the Festival: Reimagining Economic Models

“The Chandi Medha project was initiated in April 2024 and is being meticulously crafted by silver filigree artisan Pradeep Kumar Prusty, with support from five co-artisans. The work has now entered its final phase. Adorned with intricate silver designs, including motifs of peacocks, paan leaves, and amba kasi, the Chandi Medha is set to be showcased at the pandal this pujo,” shared a member of the Maa Mangala puja committee, who are adding a new 'chandi medha' (silver filigree backdrop) this year.

What's particularly striking about Cuttack's silver filigree story is how it challenges conventional development narratives. Rather than depending on government interventions or international markets, the craft flourishes in Cuttack, home to nearly 2000 artisans who inherited the knowledge, technique and skills from their forefathers, primarily through deep cultural connections.

However, this model has limitations. Sahoo explains the wage reality: "The wages range between 10,000 to 15,000 rupees depending on the work, though at times it's less. Our capacity to handle bigger orders like ten kilos or five kilos was not always available."

The industry's dependence on seasonal demand creates feast-or-famine cycles. During peak months, artisans work around the clock. During lean periods, many struggle to maintain workshops, and skilled labour migrates to other occupations.

The Digital Age and Cultural Renaissance

Interestingly, social media and cultural pride are creating new opportunities. As Behera observes, "The work we are doing now is definitely expanding. There's more demand and more work during this time." The increased visibility of Cuttack's silver tableaux through digital platforms has created awareness beyond traditional boundaries.

The prestigious Bidanasi Puja Committee member explains: "Earlier, people knew about our silver work only locally. Now, with social media coverage and cultural tourism, we're getting inquiries from across India and even overseas. This creates year-round opportunities, not just during Cuttack's Durga pujas."

The craft's GI (Geographical Indication) tag in 2018 has also helped, though its commercial impact remains limited. Tarakasi is more than 500 years old and traditionally done by local artisans, with filigree artists working with an alloy of 90% or more pure silver—a quality standard that increasingly attracts premium buyers.

A Future Forged in Silver

The story of Cuttack's silver filigree or tarakasi work and Durga Puja reveals how traditional crafts can find economic sustainability through cultural authenticity rather than modernisation or industrialisation. However, this model requires more robust support systems.

Recent developments offer hope. A Silver Filigree Common Facility Centre launched in Cuttack aims to empower heritage artisans, potentially providing the infrastructure support that individual workshops lack.

Yet the real lesson lies in recognising that cultural economies operate by different rules. As Sahoo reflects: "See, Cuttack is a hub where different work is done by different people. Everyone does their own work in households—crafts, cottage industries, etc. Work depends on demand."

This ecosystem approach, where festivals create concentrated demand that sustains year-round craftsmanship, offers insights for cultural preservation policies worldwide. The silver threads that adorn Durga's image during puja season don't just create beautiful art—they weave economic lifelines for communities whose skills connect us to centuries of cultural wisdom.

In an age of mass production and digital commerce, Cuttack's silver artisans prove that the most sustainable economic models might well be the oldest ones, requiring not disruption but deeper understanding and more thoughtful support.