A time comes in a metropolitan migrant's life when memories of hometowns drift to the surface, a little heavier than nostalgia, and always during certain times of the year. In the cities in Bihar, the harbinging tune of the local Chhath song begins to wail out from unidentifiable nooks and crannies and by the time you're on to it, it's already in your head. The song in question is a traditional folk composition from the Bhojpuri and Maithili regions of Bihar, passed down through generations and sung during the festival to express devotion to Chhathi Maiya and the Sun God. The song was brought into the mainstream by Sharda Sinha whose rendition became iconic in the 1980s and 1990s. Dubbed the ‘Bihar Kokila’ and the ‘voice of Chhath’, her performances popularised these songs across India and among the Bihari diaspora, preserving them for new generations. Unfortunately, Sinha passed away on  5 November this year at AIIMS in Delhi, where she had been receiving treatment for septicemia. So when that nostalgic appointment by the Hindu calendar knocks on your door, you answer it humming ‘pahile pahil hum kahinee chhathi maiya vrat tohaar’ (which means, For the first time I am saying, Your vow, O Chhathi Maiya, or words to that effect).

The song whose lyrics evoke the fast-keeper's devotion and connection to the Sun Goddess is the second thing that makes itself marked during Chhath, the first being a certain reluctance of bathing in regular water in the season. Chhath Puja is one of the most revered festivals in Bihar and parts of Uttar Pradesh, Jharkhand, and Nepal. The ancient Hindu festival is devoted to worshipping the Sun God (Surya) and Chhathi Maiya (Goddess Usha) is rooted in thorough purification and unfolds as a way of expressing gratitude and seeking blessings for health, prosperity and well-being. The festival is in the league of those that set off the preparations of advisories, route changes, an overwhelming influx in trains heading to Bihar and the novel annual checkup of the state’s ghats’ health. From ancient steps to freshly prepared ghats, the cityscape transforms into something almost mythical. Often along the Falgu, a traveller may chance upon a landscape so archaic that an art fellow would no sooner lay eyes on them than a whole canvas painted of one of the Daniell brothers' ghats would project itself in their mind.

Essentially, Chhath Puja comprises four days of rigorous rituals and devotion. On the first day, known as Nahay Khay, devotees purify themselves and their homes, taking a ritualistic bath, usually in a river, and consuming only one meal. The second day, Kharna, involves a strict fast without water from sunrise until after sunset, when devotees break their fast with prasad made of rice, jaggery, and milk. The third day, Sandhya Arghya, is the main event where devotees, dressed in traditional attire, gather at riverbanks or water bodies to offer prayers and arghya (offerings) to the setting sun. The municipal authorities of the cities take the pains of sprinkling the city streets with water after solid sessions of brooming for the ease of the devotees flocking up to the ghats. On the trip to the ghats, a whole carnival takes shape along the streets as well as on the riverbanks of street food hawkers, soft toy sellers, puja paraphernalia and other merchandise. The final day, Usha Arghya, sees devotees offering prayers to the rising sun again at the riverbanks, concluding the fast with a community feast. Following the last day’s morning rituals, a certain surge of photos is seen on social media and the general atmosphere of the house remains calm and sleepy for the dedicated devotees as the other gathered family members indulge in merry-making before taking off on their own ways the next day. These four days embody a profound journey of endurance, faith, and gratitude to the Sun God and Chhathi Maiya for health, prosperity and well-being.

In a traditional household, any individual can observe the rigours of Chhath and every other family member has a role to play in supporting the person. However, typically one member, often the mother or a senior female, undertakes the rigorous Chhath fast and rituals and she is known as the vratin. The vratin is responsible for the demanding rituals, including fasting and offering arghya (prayers and offerings) to the Sun God. Family members help by preparing the special prasad (offerings) and cleaning and decorating the home. They may also assist with setting up the ritual space at the riverbank or pond, arranging the traditional items like sugarcane stalks, fruits and earthen lamps. During the arghya, the whole family accompanies the vratin to the river or ghat to participate in the prayers, collectively singing traditional songs and offering support.

While Chhath is not centred around any one sacred site, several places across Bihar showcase its grandeur. For instance, Patna’s Ganga ghats, especially the Gandhi and Kali ghats, become vibrant centres where thousands gather to offer arghya to the sun. In Gaya, the banks of the Falgu River host impressive celebrations, drawing both locals and pilgrims. However, it is ironic to realise that the Falgu is cursed to remain dry as a water-body. Bhagalpur’s Kuppa Ghat and Munger’s Chhath Ghat along the Ganga also see large crowds, with rituals performed in a setting steeped in natural beauty and devotion.

Smaller towns, like Muzaffarpur and Begusarai, have their local riverbanks and ponds decorated and prepared by communities, bringing the entire state together in collective reverence for the Sun God and Chhathi Maiya. However, it is important to note that this year, the Patna district administration declared 11 ghats unsafe for Chhath celebrations due to safety concerns. These ghats were deemed hazardous because of low water levels, steep slopes, and soil erosion. Additionally, five other ghats were declared dangerous and also out of bounds for devotees.

Talking to Akash Bhardwaj, the individual behind the renowned Instagram page Bihar Visual Archive and a PhD scholar in museology, it came forth that Chhath is a festival of antiquity, deeply rooted in ancient traditions of sun worship. It is believed to predate organised temple worship, focusing instead on nature-based rituals at rivers and ponds without the use of idols. Bhardwaj also highlighted how Bihar’s geographical landscape is interwoven with rivers like the Ganga, Gandak and Falgu, making it naturally suited for the water-centric rituals of Chhath.

In recent times, characterised by significant metropolitan migration and cultural diversity, Bhardwaj warned that the notion has emerged that Chhath is to Bihar what Navratri is to Gujarat, Ganesh Chaturthi to Maharashtra, or Durga Puja to Bengal. However, nothing could be further from the truth. While Chhath remains a longstanding festival integral to Bihar’s cultural fabric, it is not the sole marker of the state’s identity, despite being promoted as such in some tourism and identity-building narratives surrounding ‘Brand Bihar’.

Chhath, with its ancient roots and deep cultural significance in Bihar, remains a testament to the state's spiritual heritage. However, raising awareness about the health risks associated with its rigorous rituals, particularly fasting and exposure to cold waters, as well as the polluted riverbanks that pose health hazards, is crucial as its visibility grows. By fostering a balanced approach that honours tradition while prioritising safety, we can ensure that Chhath continues to be celebrated with reverence and care, preserving both its spiritual and physical well-being for generations to come.