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The maze of narrow bylanes dates back to colonial times, when a group of potters migrated to Kolkata from Krishnagore, a town in Nadia. Bringing with them their age-old traditions of crafting idols with clay, this first generation of migrant potters became the acto rs of a burgeoning cultural movement. The first influx was in 1757, when Raja Nabakrishna Deb of Shobhabazar Rajbari brought the artisans from Krishnagore to Kumartuli to create the idols of what became one of the first domestic Durga Pujas. As the British East India Company began earmarking neighbourhoods, a growing number of these potters flooded the locality and took to fashioning idols of Gods and Goddesses with clay from the river and delivering them to local mansions.

Kumartuli is not just a neighbourhood; it is a living museum and a rich tapestry of Kolkata’s artistic and cultural heritage​

For the most part, the craftsmanship has remained unchanged except for minor innovations, like application of spray paint. The ‘kumors’ start with a bamboo-and-straw frame and layer it with clay. The artistic alchemy lies in the intricate facial expressions of the deities, the painting and embellishments.

“In total, there are over 10,000 artists and a wider network of craftsmen if we include the ones who operate in the neighbouring areas and come here to sell. Most of them are seasonal workers who return to their respective districts during the off-season to attend to farming,” said Sujit Pal of the Kumartuli Mritshilpi Sanskritik Samiti. About 550 idolmakers each hire thousands of workers just before Durga Puja, who work together until the end of the festive season. The idols are delivered to heritage mansions, community pujas across the city and are even dispatched to various parts of the country and abroad. Amid spells of rain, hordes of camera-carrying content creators and inquisitive tourists, the workers remain unfazed and don’t bother to engage in small talk. They work quietly from the crack of dawn to night in the dimly lit open lanes demarcated by plastic sheets draping their workshops. Their work is the economic lifeline of their families back home.

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In 2015, two period films — Dibakar Banerjee’s ‘Detective Byomkesh Bakshy!’ and Anurag Kashyap’s ‘Bombay Velvet’ — had also recreated sets with Art Deco motifs. In 2013, the Hollywood movie ‘The Great Gatsby’ starring Leonardo DiCaprio put the spotlight on Art Deco and fuelled tourist flow into Miami which has a fine collection of Art Deco buildings.

With its own array of Art Deco buildings — grand offices along Chittaranjan Avenue, cinema halls in central and south Kolkata, and residential homes in south Kolkata — the city is beginning to see renewed interest in the design style that first appeared in France before World War I and began flourishing internationally in the 1920s, 1930s and 1940s. 

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Kolkata was the first and is the last Indian city to have a tram service. The first tram in India made its inaugural journey in 1873 across a 3. 9-km distance from Armenian Ghat to Sealdah. The 177 trams that were drawn by horses did not immediately attract locals until electricity was introduced in 1902.
According to Debasish Bhattacharyya, president of Calcutta Tram Users’ Association (CTUA), 1989 was the last time a new tram was manufactured and added to the Kolkata routes. “In 1989, roughly 300 trams were in circulation. Today, there remain about 230, of which about 10 are operational. The downfall of trams in Kolkata started in 1990 when the World Bank funds for expansion of the tram network was halted. The same year, the then transport minister had called it an obsolete mode of transport. This process of shrinkage continued over 30 years.”

​Kolkata’s tram network was the first in the country and now, the only surviving one. The number of trams in the city has dwindled over the years, coming down to only a handful on four routes at present

The rapid dwindling of trams in Kolkata in no way reflect the unyielding public adoration for the service and its popularity on social media. In February, when the city celebrated 150 years of trams, the state transport department held a week-long Tram-Jatra, a spectacle of decorated trams cutting through Esplanade, drawing crowds from as far as Australia. Gavin Rozario, the only, Anglo-Indian tram conductor in Kolkata, recalled the enthusiasm from the crowd and the presence of ‘trammies’, like Melbourne-based Roberto D’Andrea. “Roberto has been visiting Kolkata for the past 30 years, bridging a Kolkata-Melbourne connection as two of the few non-European cities with networks of tramways,” he said.
Commuters often reminisce about the leisurely pace of life on a tram in an era marked by hurried routines and digital interactions. As a tram trundles along, friendships are struck on board, stories exchanged, and lives interwoven. Traffic superintendent at Ballygunge tram depot Samit Chandra said, “Twenty or so years ago, when there were fewer private vehicles on roads, the speed of trams was between 20kmph and 30kmph, especially in the Kidderpore area. Now, the movement is quite slow. But people still enjoy the slow pace. We often get requests to rent out our trams for birthday parties so that guests can glide through the city while making memories. ”

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The role of trams has diversified into a melange of modern memorabilia. Tram cafes and tram museums have cropped up, attracting a notably youthful crowd. The Smaranika Tram Museum in Esplanade is a 1938 tram, which has been converted into a cafe with an attached area that stores a century-old relic. Jallaludhin Sheikh who runs the cafe said, “This is the only tram museum in Asia. We have been running it for 14 years. On most days, we have a long queue of people outside. ”

The electric trams in service and the few preserved in depot museums are a far cry from the oldest trams, made of wood, some of which are housed in Nonapukur Tram Depot. “Wooden trams and doubledecker buses were in vogue during my childhood. Many of them have been renovated while others are kept at Nonapukur,” said Bhattacharyya.

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Kolkata’s trams are set to play a crucial role in the city’s sustainable transportation ecosystem. With an increasing focus on reducing carbon emissions and congestion, trams are being reimagined as a green and eco-friendly option. But the desperate need for a green mode of transport comes at a time when only a handful of trams run across the city. Between 2014 and 2019, the 127 operational trams on 56 routes shrank to only 35 on 7 routes. At present, only four routes are in service. Last week, Kolkata mayor Firhad Hakim had even said that tram tracks not in use any more needed to be removed as they might pose a threat to two-wheelers, although he was in favour of continuing services on existing routes.

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The dismal image notwithstanding, a ray of hope glimmers for India’s last surviving tram network. In April, the West Bengal Transport Corporation hired 44 tram drivers after 20 years of no new recruitment. While existing drivers and conductors are nearing retirement, a new generation is under training. Debashish Dey, starter at Ballygunge tram depot, said, “We just had two retirements. After a few months of training, we are set to get a new set of drivers. ” Chandra added, “The trainees have been chosen from those part of the tram services, like cleaners or those who manage the tracks and change the routes. It is a specialized skill that requires adequate preparation. Those who join work in trams as engineers or managers usually spend their lives in this service. ”

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Between hope for a promising future pinned to environmentalism, tourism and heritage preservation, and despair for the forgotten routes and obscured histories of the hundreds of varieties of trams, Kolkata trams are a living museum of the city’s transport diversity. The wheels of fortune will determine how the city travels in future as well as the quality of the air the residents breathe.

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The Lake, or Rabindra Sarobar, with its four islands and the lush green surroundings, which is home to a wide range of biodiversity, was non-existent till a century ago.
The area in Dhakuria was a marshland, from where Calcutta Improvement Trust (later, Kolkata Improvement Trust, which recently merged with KMDA) excavated soil to fill tracts of land, where Jodhpur Park now stands. The cavernous pit that was formed by the excavation turned into a lake and was initially referred to as Dhaku ria Lake. It was renamed as Rabindra Sarobar in 1958 and was conferred the status of a national lake in 1997.
The entire Rabindra Sarobar covers around 192 acres, with the Lake spanning 73 acres. KMDA, custodian of Rabindra Sarobar, said the green zone had about 11,000 trees of 270 different varieties. The agency has recently taken up the project of de veloping a Miyawaki forest on a large patch of land. It is also working on landscaping, setting up of green zones with different species of trees, and exhibition of plants.

The biodiversity hot spot is a favourite among bird-watchers, nature enthusiasts and morning and evening walkers alike. Elderly people are often seen huddled in groups or alone on the benches, ch atting and enjoying the serenity of the lake. Eighty-year-old Somnath Mazumdar is a regular. “Some of us meet here almost every day. We love watching the birds and butterflies. The clean air and the cool breeze from the lake sooth our body and soul. ”
It’s a birders’ paradise. A variety of species, some of them rare, are spotted here. The list is pretty long, including sma ll niltava, Swinhoe’s minivet, ferruginous flycatcher, dark-sided flycatcher, India rubythroat, colourful Indian pitta, painted storks and chestnut winged cuckoo.
The Lake has four isl ands, three of which are located in the larger eastern section and one to the west. A mosque, which had existed since before the Lake was formed, is on one of the islands an d can be reached with the help of a hanging bridge. An iron plaque on the bridge shows it was built in 1926 by Burn and Co Ltd.
Historians pointed out that during the excavat ion of the Lake, cannons were found that were probably used in the battle between Siraj-uddaulah and Lord Clive in 1756. The cannons were built in England in the early 18th ce ntury. Currently, three of them are displayed on a concrete platform on the southern part of the Lake. Behind the cannons is the Durga Museum, named ‘Ma Phire Elo’.

The complex also houses four old clubs—Calcutta Rowing Club, Bengal Rowing Club, Lake Club and Anderson Club, now known as the Indian Life Saving Society. Nazrul Manch and Rabindra Sarobar Stadium are also located on the pr emises. Lake Club secretary Subrata Guha said, “The Lake is unique to the city, especially because of the large area it covers. Rowing and swimming, both pollution-free sports, are practised here. ” But the quality of the water in the Lake has been a reason for concern, especially since dead fish is sometimes found floating in the water body. In the scorch ing summer, the water level had also dipped to worrying levels. Honorary secretary of Calcutta Rowing Club, Chandan Roy Choudhury, said, “Dredging is important as it will improve the qua lity and quantity of the water at the Lake. It will also be beneficial for the flora and fauna. ” He also finds it alarming that the depth of the Lake is decreasing.

KMDA officials said they were taking measures to maintain the ecological balance of the water body. “ Fountains are being operated regularly to increase aeration in the water and maintain the d issolved oxygen level. Bathing in the Lake is prohibited,” an official said, adding they also looked after the premises by keeping the area clean, sweeping, and cutting the overgrowth of weeds and shrubs. Water ATMs have been installed. Bottle crusher machines have also been put up so that people don’t litter the green zone. Swapan Purkait, a regular morning walker and a rower, also pointed out that steps should be taken to make the premises safer, especially in the evening.
Performing any ritual, like Chhath Puja, has been prohibited to conserve the water body. E-toilets have also been set up to keep the premises clean. Environmentalists pointed out the conservation of the “lungs of Kolkata” was a necessity that could be achieved through nutrient remediation of the water body, aeration and hydro-raking that might prolong the lifespan of the water body.

Rabindra Sarobar, a harmonious blend of nature, history and urban life. From morning walks and yoga by the lake to rowing sessions and elders sharing tales in the afternoon shade, the community thrives around it. The hanging bridge and cannons add layers of history and design, while the Durga Museum graces the southern edge

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​The nature of Bengal’s contribution to Indian cinema has changed, but it would not be unfair to suggest that Kolkata still plays an important role. Veteran film-maker Goutam Ghose believes Kolkata being the capital city of colonial India was a big reason for its importance in the film world. “Investors came here from all over. Even the Madans had migrated to Kolkata and flourished. Bengali cinema had a huge market and some films would release even in Lahore,” he said.
​Kolkata can be credited with being the city of many firsts. Photographer-turned-director Hiralal Sen made India’s first ad films and quite possibly India’s first political film. Sound designer Mukul Bose, with Bani Dutta, invented India’s first playback machine at New Theatres studio on Chandi Ghosh Road. Nitin Bose’s ‘Bhagya Chakra’ was the first Indian film to use playback singing in 1935. Remade in Hindi as ‘Dhoop Chhaon’, it became the first Hindi film to use playback singing.

​New Theatres was the launchpad of some of India’s early stars, directors, composers and singers. On its payroll were the likes of Prithviraj Kapoor, Pramathesh Barua and K L Saigal. Bimal Roy started his career from Kolkata’s New Theatres, as did Hrishikesh Mukherjee.
​Kolkata was also the address of some of oldestfilm studios, including East India Studio on Moore Avenue, Aurora Studio, Bharat Lakshmi Studio, Indrapuri Studio and Bengal National Studio. “Even Tamil and Telugu directors came here. They would arrive only with their scriptwriters and shoot at Aurora Studios,” Ghose said.
​Devaki Bose’s Hindi film, ‘Seeta’, starring Prithviraj Kapoor and Durga Khote, was shot in East India Studio. It won an honorary diploma at Venice Film Festival in 1934, the first global award for an Indian film.

​In the late ’40s, Hindi films, like ‘Ek Aurat’, ‘Lottery’ and ‘Nayi Bhabi’, were shot at Bengal National Studio in Baranagar. The owner, S D Narang, had migrated here from Lahore before shifting to Mumbai. During a shoot, Narang met his life partner, Smritilekha Biswas, who later worked with Guru Dutt, V Shantaram, Bimal Roy, B R Chopra, Raj Kapoor, Dev Anand and Kishore Kumar in Mumbai.

One of the earliest woman directors/producers of Indian cinema was also from Kolkata. Actor Protima Dasgupta, who studied in Santiniketan, made her debut in Naresh Mitra’s adaptation of ‘Gora’. In Mumbai, she directed three Hindi films, the first one being ‘Chhamia’ (1945), starring Begum Para and David.

​In the ’50s, international legends came here toshoot. Jean Renoir shot his American Technicolor drama romance, ‘The River’, (1951) at Eastern Talkie Studio in Dakshineswar. Ray was still in the advertising industry when he met Renoir.
​The situation changed postPartition. Bengal lost its big market, other industries started coming up. The studio system collapsed. New Theatres’s closure nudged everyone towards Mumbai. Nitin Bose and Bimal Roy to Ritwik Ghatak and Hrishikesh Mukherjee, everyone left for Mumbai. The Hindi playback industry saw a huge exodus, right from the time of Hemanta Mukherjee, Kishore Kumar and S D Burman to Pritam and Arijit Singh. “Bengali authors and directors supplied Hindi content. Bengali music directors supplied great Hindi songs. Hrishkesh, Hemanta, Salil Chowdhury, Sharadindu Bandyopadhyay. . . the list is endless. Superhit Bengali films as well as songs were remade in Hindi,” said actor-director Anjan Dutt.

​The cross-pollination between Kolkata and Mumbai is revived now. More Bengali characters and even actors surface in Hindi films. Churni Ganguly and Tota Roychowdhury are now part of Karan Johar’s latest, ‘Rocky Aur Rani Kii Prem Kahani’. “Now, viewers are aware of the difference in which a Bengali from Delhi and one fromKolkata will speak. Directors insist on authenticity and want to cast actors from Kolkata if the character so demands,” Tota said.
​That explains why Anirban Bhattacharya was cast opposite Rani Mukherji in ‘Mrs Chatterjee Vs Norway’. Casting directors in Mumbai now have an eye for Rituparna Sengupta, Dibyendu Mukherjee, Rajesh Sharma, Saswata Chattopadhyay and Paoli Dam. Directors Srijit Mukherji and Aniruddha Roychowdhury are straddling both Tollywood and Bollywood with elan.

​The advent of OTT has boosted the trend. Jisshu Sengupta teamed up with Kajol in ‘The Trial’, while Parambrata Chatterjee paired with Raveena Tandon in ‘Aranyak’. Prosenjit Chatterjee won hearts in ‘Jubilee’ and ‘Scoop’. Swastika Mukherjee is now a regular face in Hindi web series. “OTT has opened space for varied content and characters. In Bengal, we have had to polish our craft within limited resources,” Parambrata said.
​But not all the action is concentrated in Mumbai. Documentaries made by Kolkatans, like Supriyo Sen, Sourav Sarangi, Arvind Sinha, Ranjan Palit and Ranu Ghosh, have won international laurels. There is a recognition of feature films by contemporary directors from Kolkata at international festivals. ‘Guras’, a feature film by SRFTI alumnus Saurav Rai from Darjeeling, won an award at Karlovy Vary International Film Festival this year.
​Kolkata was back to “being rediscovered as a highly interesting location and a milieu for exciting Hindi stories, films or OTT”, said Dutt. “Howrah bridge, Kumartuli, tram, Chandpal ghat, old mansions, Durga Puja are becoming ‘in’,” he said.

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​The East India Company’s land acquisition was followed by establishment of factories and colonial developments, all along the river. Huge warehouses came up and the central business district was established, too. Much water has flowed under the Howrah bridge, but the architectural grandeur of the buildings established around the Hooghly and the ghats remain Kolkata’s icons, despite the co-existing ncroachments, squalor, and grime.

​The city is dotted with hundreds of ghats—Babughat, Prinsep Ghat, Zanana Ghat, Babughat, Outram Ghat, Jagannath Ghat— which are not merely a series of steps leading to the river but also a space that houses motley activities, starting from bathing, washing, religious rituals, funeral rites, various trades to massage by masseuses from Odisha, and of course, the “night shelter” for the homeless. The prettier promenades are popular hangoutplaces. While the Hooghly itself is used to cross over from Kolkata to Howrah or towards north by ferry, the riverfront is skirted by the circular railway, used by many for daily commute.

​“The riverfront has a great potential to be developed as a major tourist attraction through informed and sensitive regeneration,” said G M Kapur of Intach (Indian National Trust for Art and Cultural Heritage).
​According to KMC’s blog Kaleidoscope, most ghats were built by local businessmen during the British Raj either as an act of philanthropy or as a status symbol.

​In 1823, when Rani Rashmani’s father passed away, she visited a ghat to perform his postcremation rites. Shocked by its poor state, she asked her husband, Babu Raj Chunder, to renovate the ghat. Thus, the new-look Babughat was built in 1830, complete with 36 pillars and an Ionic style parapet.

Chhotey Lal Durga Prasad, a successful law practitioner at the Calcutta High Court, built a ghat and refurbished a small temple there he would often visit, after his son was born. This later came to be known as Chhotey Lal Ka Ghat.
​The Ram Chandra Goenka Family established the Zanana Ghat for women to take a bath in the Hooghly.

One of the highlights of the riverfront is the idol-makers’ enclave of Kumartuli. The ghat has 12 pillars and is open on three sides. “It has one of the most beautiful and ornate ghats, which is now used for religious rituals during the day and by the homeless at night,” said Meghna Banerjee, a freelance photographer.

​In the last few years, social media has propelled the riverfront, the ghats and their history into public consciousness. According to photographers, pre-wedding shoots have become almost incomplete without a few frames with either the Howrah bridge or the Vidyasagar Setu in the backdrop or one of a boat ride or beside the pillars at Prinsep Ghat. “Along with yellow cabs and trams, the riverfront is the most sought-after location for pre-wedding shoots. Some want to be photographed on the steps, some with the Howrah bridge as the backdrop and some on boats,” said Arshad Hussain, a wedding photographer.
​The riverfront is such a repository of the city’s history that it has spawned several curated walks and trails along it.
​“Foreigners as well as locals join our walks. This indicates the heightened interest about the river and the history around it among Kolkatans,” said Partha Banerjee of River Tales, whichconducts river trails on weekend mornings between December and March.

But the old quarters along the riverfront are also plagued by encroachment, squalor and defacement. Given the proximity of the CBD, goods vehicles are parked on long stretches. Vagrants have made several of the ghats their homes. Open defecation is regular. Shops, eateries, and warehouses dump waste in the river. “I have been conducting walking tours along the Hooghly for a decade and I have seen several aspects disappear over time. Many of the ghats have fallen into disrepair, while illegal parking is eating into space,” said a walking tour organiser.

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