PUNE

Pune reflects Maharashtra’s vibrant cultural spirit through a range of fairs and festivals celebrated across the district. These occasions often bring together religious devotion, seasonal cycles, and community participation, shaping the district’s cultural identity. Prominent festivals like Ganesh Chaturthi, Diwali, Holi, Gudi Padwa, Ashadi Ekadashi, Akshay Tritiya, Navratri, Dussehra, Mahashivratri, Shivaji Jayanti, Makar Sankranti, Nag Panchami, and Vat Purnima are widely observed. However, the district is also uniquely known for festivals such as Jijau Jayanti, Bhima Koregaon Shaurya Din, Bhimthadi Jatra, Sant Dynaneshwar and Sant Tukaram Jatra, and Shiv Jayanti, among others, which highlight its local traditions and historical connections. Together, these celebrations offer insight into the district’s social fabric and collective rhythms of life.

Bhima Koregaon Shaurya Din, observed every year on January 1 in Bhima Koregaon village near Pune, commemorates the Battle of Bhima Koregaon fought in 1818 during the Third Anglo-Maratha War. For many, especially within Dalit communities, this event is not just a military episode but a powerful symbol of resistance against caste-based oppression. Central to the commemoration is the Vijay Stambh (Victory Pillar), a memorial erected by the British in honor of the soldiers who fought in the battle, nearly 500 of whom were Mahars.

The battle took place on 1 January 1818, between a British East India Company force of around 834 soldiers, mostly from the Mahar regiment, and the Maratha army led by Peshwa Baji Rao II, which numbered over 28,000. Despite being outnumbered, the British force withstood the assault for nearly 12 hours, ultimately prompting the Peshwa to retreat. Though a small engagement in the broader context of the Anglo-Maratha conflicts, this battle holds deep social and symbolic importance for Dalit communities.

In 1927, Dr. B.R. Ambedkar visited the Vijay Stambh and paid homage to the fallen Mahar soldiers, turning the site into a focal point of Dalit memory and assertion. Since then, January 1 has been observed as Shaurya Din (Valour Day), drawing lakhs of Ambedkarite followers from across the country. Attendance has grown steadily in recent decades, with between 7 to 10 lakh people participating in recent years. Visitors gather to offer floral tributes, raise blue flags, chant slogans of equality, and participate in cultural and political programs centered on Ambedkar’s legacy.

Dahi Handi is one of Pune’s most energetic and street-oriented celebrations, marked by human pyramids, rhythmic dhol-tasha, and lively crowds. Observed on the day following Krishna Janmashtami, the festival commemorates the playful story of young Krishna stealing butter from earthen pots hung high above the ground. In Pune, the celebration is most vibrant in the city’s older localities, especially Shaniwar Peth, Budhwar Peth, Ganpati Chowk, and Lal Mahal Chowk.

In recent years, Lal Mahal Chowk has emerged as the focal point of the city’s large-scale celebrations. In 2024, an estimated 35 mandals - including Hutatma Babu Genu Mandal, Bhau Rangari Mandal, and Tambdi Jogeshwari Mandal - jointly hosted a centralized Dahi Handi here. Govinda pathaks, the human pyramid teams, are primarily formed by local youth groups and begin practicing several weeks in advance. While Mumbai is known for intense competition and towering pyramids up to nine tiers, Pune’s pyramids typically range between four and seven tiers, with a greater emphasis on safety and team discipline.

Among Pune’s most prominent organizers is the Hutatma Babu Genu Mandal, based near Mandai. Known for its robust crowd turnout and substantial prize offerings, the mandal also partners with nearby hospitals for medical assistance and has historically offered up to ₹5 lakh in aid to injured participants. This reflects Pune’s broader emphasis on blending festive enthusiasm with civic preparedness and care.

At Ganpati Chowk near Shaniwar Wada, the Dagdusheth Halwai Ganpati Mandal hosts Dahi Handi as part of its extended Ganeshotsav celebrations. These events often include bhajan programs, celebrity appearances, and cultural performances. In 2023, the event featured a musical act by Ajay-Atul and an appearance by cricketer Kedar Jadhav, drawing major crowds and media coverage.

Several mandals also use Dahi Handi to spotlight social causes. The Suvarna Yug Tarun Mandal, for instance, has honored war widows and families of veterans during their events, blending celebration with civic messaging and social respect.

The festival also boosts the local economy. Areas around Mandai, Shaniwar Wada, and Laxmi Road see a surge of food vendors and street stalls selling Puran Poli, Modak, Vada Pav, lemon soda, and sugarcane juice. Temporary shops offer souvenirs, toys, devotional goods, and decorative items. The demand for lighting, sound systems, and decoration work also increases, benefiting artisans and service providers. Many mandals distribute prasad packets of sweets, fruit, or coconut, continuing older traditions of community sharing.

Ganeshotsav, one of Maharashtra’s most widely celebrated festivals, holds a particularly deep and historic connection with the city of Pune. While the ten-day festival is observed across the state with devotion and grandeur, Pune’s Ganeshotsav stands apart for its rootedness in community life, its legacy from the Peshwa period, and its role in the rise of public cultural nationalism during the freedom struggle.

Ganesh worship in Pune dates back to the early 17th century, when Rajmata Jijabai, mother of Chhatrapati Shivaji Maharaj, is believed to have installed a Ganesh murti at Kasba Peth, considered the oldest part of the city. The Peshwas, who ruled from Pune in the 18th century, regularly commissioned mandirs and celebrations dedicated to Bhagwan Ganesh.

However, it was Lokmanya Bal Gangadhar Tilak who gave Ganeshotsav its modern public form. In 1893, he transformed what had largely been a private household celebration into a Sarvajanik (public) festival - a means to foster social unity and mobilize people against colonial rule. Pune thus became the birthplace of the Sarvajanik Ganeshotsav tradition.

The festival begins with the sthapana (installation) of Ganesh murtis in public mandals and private homes across the city on Ganesh Chaturthi, usually in August or September. Over the next ten days, Pune’s streets come alive with elaborate decorations, miravnuks (processions), dhol-tasha pathaks, lezim performances, rangoli competitions, and cultural programs ranging from plays and music to social awareness campaigns. Competitions are held for the most creatively decorated mandap (pandal), and many mandals adopt thematic decorations around tales from epics or contemporary issues. These large mandals are also supported by dhol-tasha pathaks, who accompany the Ganesh sthapana processions with their energetic beats, setting the tone for the festival from the very beginning.

Pathaks themselves participate in competitions, showcasing not just rhythm and coordination but also discipline and endurance. To prepare, they begin rigorous practice months in advance, often gathering early mornings or late evenings in public grounds, with the sound of synchronized dhol and tasha echoing through the city long before Ganeshotsav officially begins.

A distinctive aspect of Pune’s Ganeshotsav is the tradition of the ‘Maanache Ganpati’ - five mandals that are accorded special honorary status and lead the immersion procession on the final day, Anant Chaturdashi. This hierarchy, deeply rooted in history and civic identity, reflects not just religious devotion but also political legacy, social harmony, and local pride. These five Ganpatis are revered for their historical significance, public respect, and continuity, and no other mandal may begin visarjan until they have completed their processions.

Known as Pune’s Gram Daivat (presiding deity), Kasba Ganpati holds the foremost position among the Maanache Ganpati. Located in Kasba Peth, where the city first began to take shape, this Mandir is closely associated with the legacy of Rajmata Jijabai and Chhatrapati Shivaji Maharaj. Local tradition narrates that when Jijabai and young Shivaji settled in Pune in 1630, a murti of Ganesh was discovered near the residence of Vinayak Thakar. Seeing it as a divine sign, Jijabai had a Mandir constructed on the spot. It is said that this event marked the beginning of Shivaji’s resolve to establish Swarajya. In the late 19th century, Bal Gangadhar Tilak gave this Ganpati mandal its premier status during the reimagining of Ganeshotsav as a public festival to foster unity and nationalism. Today, Kasba Ganpati always leads the visarjan procession, embodying Pune’s historical continuity and spiritual leadership.

Ranking second in the procession, the Tambdi Jogeshwari Ganpati is located beside one of Pune’s oldest Durga mandirs, representing the city’s ancient traditions. While Kasba Ganpati is the Gram Daivat, Tambdi Jogeshwari is considered the gramdevta. The Ganesh murti here is distinctively placed on a silver throne, and the site’s layered religious associations, with both Ganesh and the Devi, highlight Pune’s older devotional landscape. The Mandir's antiquity and the enduring reverence it commands secure its place among the Maanache Ganpati.

The Guruji Talim Mandal, established in 1887, is notable as one of the earliest public Ganesh mandals in Pune and a powerful symbol of interfaith unity. Founded collaboratively by Bhiku Shinde, a Hindu, and Ustaad Nalban, a Muslim, the mandal takes its name from a traditional wrestling gymnasium (talim) known as "Guruji Talim." Situated near Laxmi Road, the mandal has long promoted values of communal harmony and inclusivity. Its continued participation in the immersion procession as the third Maanacha Ganpati stands as a tribute to the syncretic ethos of Pune’s public life.

The Tulshibaug Ganpati, installed in 1901, is famous for its towering 13 ft. murti, the tallest among the Maanache Ganpati. The murti is adorned with elaborate silver ornaments, and the mandal is known for changing decorative themes each year, often drawing from mythology, history, and contemporary social issues. The Ganesh Mandir is located within the bustling Tulshibaug market area, where the presence of the murti is believed to have contributed to the commercial prosperity of local businesses. Notably, the Tulshibaug Mandal was the first to introduce a glass fiber Ganpati murti in 1975, reflecting a balance of tradition and innovation. During the festival, this mandal draws enormous crowds and serves as a major cultural attraction.

The Kesariwada Ganpati traces its roots to Vinchurkar Wada, the ancestral home of Lokmanya Tilak, and was relocated to Kesariwada in 1905. This mandal not only represents religious fervor but also the political legacy of the freedom struggle. Tilak, who transformed Ganeshotsav into a public celebration to foster nationalistic sentiment, established Kesariwada as a center of both devotional and intellectual activity. The site houses two Ganesh murtis—a permanent one, and another specifically installed for the ten-day festival and immersed on Anant Chaturdashi. The wada also features a museum showcasing Tilak’s desk, personal belongings, and his contributions to journalism and political thought. From this very site, he launched the influential newspapers Kesari and Maratha. The Kesariwada Ganpati, therefore, stands as a living bridge between spiritual devotion and political awakening.

Together, the Maanache Ganpati embody Pune’s layered cultural identity—where devotion, history, social values, and civic pride converge. Each mandal has its unique legacy, and their order in the visarjan procession is not merely ceremonial but a reflection of the city’s collective memory and moral order.

Each of these mandals maintains its own traditions while contributing to the citywide celebration. They are followed in procession by hundreds of other mandals, including Dagdusheth Halwai Ganpati, perhaps the most iconic due to its richly adorned marble murti and large-scale festivities. Though not ranked among the five, Dagdusheth's popularity draws tens of thousands of visitors each day. Other historic mandals like Bhausaheb Rangari, started in 1892, and newer cultural centers like Kesariwada, ensure a continuous link between tradition and civic evolution.

The immersion procession is a city-wide spectacle that begins at Alka Talkies Chowk and ends at the Omkareshwar ghats on the Mutha River. Traditional dhol-tasha pathaks such as Shivgarjana and Vadya Samrat lead the processions, accompanied by dancers, flag bearers, and tableaux. The rhythmic sound of drums echoes through Laxmi Road, and vibrant crowds line the streets late into the night. Mandals and families who do not immerse their murtis in the river use temporary tanks provided by the Pune Municipal Corporation, as part of the city’s eco-friendly efforts.

Ganeshotsav in Pune also embraces sustainable practices. In recent years, the municipal authorities and citizens’ groups have actively promoted the use of clay murtis, natural dyes, and biodegradable decorations. Several mandals now conduct eco-awareness drives, organize essay and drawing competitions for schoolchildren, and install water-saving immersion tanks. Groups like eCoexist help residents adopt greener alternatives without compromising on tradition.

In addition to public celebrations, Ganeshotsav is deeply embedded in domestic life across Pune. Many families bring Gauri idols - usually two, representing Jyestha and Kanishtha Gauri, alongside Ganpati. In Pune, Gauri is commonly regarded as Ganapati’s sister who returns to her maternal home during the festival. The arrival of Gauri is celebrated with haldi-kumkum rituals, where women visit each other’s homes, dressed in traditional sarees and carrying small offerings. Gauri stays for two days before being immersed, typically along with the household Ganpati. In Pune, unlike Konkan where only a mukut is placed, Gauri is represented as a full-bodied murti, elaborately dressed in sarees and jewelry.

The celebration of Ganeshotsav in Pune, while deeply devotional, also serves as a mirror of the city’s history and evolving identity. From its roots in the Peshwa era to its transformation into a public festival by Tilak, and its current avatar blending faith, community, and environmental awareness, the festival continues to define the spirit of the city. Pune’s Ganeshotsav remains distinct from Mumbai’s towering Ganesh murtis and commercial scale, reflecting instead a more intimate, culturally layered, and civic-minded tradition.

Gudi Padwa, celebrated on the first day of the Chaitra month in the Hindu lunisolar calendar, marks the Marathi New Year and is one of the most significant festivals in Maharashtra. In Pune district, long regarded as the cultural capital of the state, the festival carries a special resonance. It blends domestic rituals, civic celebration, and neighborhood pride in ways that reflect both the city’s historic roots and its evolving cultural fabric.

Traditionally, it is believed to be the day Bhagwan Brahma created the universe and it is also linked to Bhagwan Ram’s return to Ayodhya and several victorious campaigns of Chhatrapati Shivaji Maharaj. These associations make the hoisting of the gudi, a decorated bamboo staff topped with a kalash and draped in silk, more than symbolic. In Pune households, the gudi stands as a banner of new beginnings and triumph over adversity. Commonly placed outside balconies or on windowsills, the gudi is often decorated with locally sourced mango leaves, neem sprigs, gathi (sugar garlands), and turmeric-stained cloths, blending ritual aesthetics with household pride.

Across neighborhoods like Sadashiv Peth, Narayan Peth, Kothrud, Sahakar Nagar, Aundh, and Pimpri-Chinchwad, preparations begin days in advance. Families clean their homes, draw rangoli designs at entrances, and prepare traditional meals featuring Puran Poli, Aamras, Shrikhand, and Neem-Jaggery chutney (Neem Ghani), a bitter-sweet mix signifying the dual nature of life. Local residents also report a surge in demand for handcrafted gudis, gathi garlands, and festive sarees in markets like Tulshibaug, Laxmi Road, and Appa Balwant Chowk, as artisans, small businesses, and food vendors gear up for the season.

What makes Gudi Padwa in Pune especially vibrant is the Shobhayatra, a grand cultural procession featuring dhol-tasha pathaks, lezim dancers, and tableau-like chariots (raths) depicting episodes from Shivaji Maharaj’s life. Organized primarily in central Pune, the procession typically travels through Budhwar Peth, Laxmi Road, and Shaniwar Wada, drawing thousands of spectators who line the streets in traditional attire. Men wear pheta turbans and women don nauvari sarees, with children often dressed as Shivaji Maharaj or his companions. Some newer housing societies in Baner, Hadapsar, and Wakad have also begun organizing their own smaller processions and community pujas, showing the growing cultural participation in Pune’s expanding urban landscape.

Mandirs across Pune, including Dagdusheth Halwai Ganpati, Parvati Mandir, Omkareshwar, and Chaturshringi, witness early morning rushes as families come for darshan and aartis. Neem-patra and jaggery are distributed as prasad, and some mandirs even host pravachans and spiritual talks on the significance of the new year. Schools and cultural halls organize week-long programs with kirtans, poetry readings, essay contests, and musical performances centered on the themes of spring, heritage, and moral renewal.

Gudi Padwa is also a time of intercultural celebration in Pune, where Ugadi (Telugu/Kannada new year), Cheti Chand (Sindhi new year), and Chaitra Navratri (North Indian calendar) are observed by various communities living across the city. In localities such as Fatimanagar, Kalyani Nagar, and Kondhwa, community halls host joint celebrations with multilingual cultural programs, group lunches, and shared prayers, reinforcing the city’s cosmopolitan ethos. In 2024, a joint cultural evening at a housing society in Aundh included Telugu classical dance, Marathi abhangas, and Sindhi folk music - showcasing Pune’s seamless cultural plurality.

Recent years have also seen a rise in eco-conscious practices. Civic groups like the Pune Municipal Corporation’s eco-clubs and housing societies have encouraged biodegradable gudi materials, natural rangoli powders, and reduced plastic use during processions. Schoolchildren participate in street plays and art installations on climate responsibility, clean air, and water conservation, turning the festival into a platform for community engagement and civic messaging.

For the city’s local businesses, especially in the old city markets, Gudi Padwa signals the start of a new economic cycle. Textile shops, sweet stores, pooja item vendors, and artisanal toy makers all report high footfall. Several Pune restaurants offer Marathi New Year Thalis featuring seasonal specialties, and food stalls along procession routes do brisk business selling Batata Vadas, Sabudana Khichdi, and lemon soda. Local transport services like PMPML arrange extra bus routes and diversions to facilitate access to key zones like Tilak Road, Mandai, and Shaniwar Wada, which become pedestrian-only for much of the morning.

In essence, Gudi Padwa in Pune is a layered celebration. It combines the spirituality of home rituals with the grandeur of public processions, the wisdom of ancient traditions with the creativity of modern-day civic life.

Jijau Jayanti, observed on January 12, commemorates the birth anniversary of Rajmata Jijabai, the mother of Chhatrapati Shivaji Maharaj. While celebrated across Maharashtra, the observance holds special meaning in Pune district due to the city’s deep historical ties with Jijabai and the early Maratha state. Unlike the grand scale of Shiv Jayanti, Jijau Jayanti is marked with quiet respect and community-driven events that honour Jijabai’s role as a mother, mentor, and leader.

Jijabai was born in Sindkhed Raja (present-day Buldhana district) in 1598. She came to Pune at a time when the city had been ravaged and abandoned after the attack by Murar Jagdev. Under Jijabai’s guidance, Pune began to rebuild. One of the most remembered stories from this time is of Jijabai and young Shivaji plowing the land with a golden plow to symbolically reverse the curse placed on the city. This act is seen as a moment of new beginnings, and Pune residents continue to recall it with pride.

In the city and surrounding talukas, cultural mandals, schools, women’s groups, and Shivaji memorial committees organize events to mark the day. Processions, often starting from symbolic locations like Shaniwar Wada or Lal Mahal, carry portraits or statues of Jijabai, accompanied by dhol-tasha pathaks and participants dressed in traditional Maratha clothing. Some processions include street plays and reenactments that depict key moments from Jijabai’s life, especially her teachings to Shivaji.

Lal Mahal, the historic residence where Jijabai lived and raised Shivaji, becomes a central gathering point. People visit to offer floral tributes, attend bhajans, and watch cultural programs organized by schools and civic groups. At Shivneri Fort in Junnar taluka, where Shivaji was born, the day is marked with patriotic speeches, flag hoisting, and local performances, linking Jijabai’s memory with important sites in Maratha history.

Educational institutions across Pune, especially those named after Jijabai, hold lectures, essay competitions, and poetry readings about her life and legacy. These programs highlight her as not only the mother of Shivaji but also as a capable administrator and teacher, who shaped his early ideas about leadership, justice, and dharma.

In neighborhoods like Erandwane, Dhanori, and Sadashiv Peth, haldi-kunku gatherings are held by women’s groups in Jijabai’s memory. These events combine traditional social customs with short speeches, devotional music, and the exchange of small gifts. For many, the day becomes a time to reflect on maternal strength, cultural pride, and shared heritage.

Though not celebrated with the same scale as other festivals, Jijau Jayanti holds emotional significance in Pune.

Lavani Mahotsav is an annual cultural festival in Pune district that celebrates one of Maharashtra’s most iconic folk dance traditions - Lavani. Organized mainly by the Sharad Krida va Sanskrutik Pratishthan (SKVSP), the event brings Lavani out of its traditional tamasha setting and places it on formal stages like the Bal Gandharva Rang Mandir in the city. The festival includes performances and competitions that aim to preserve Lavani’s artistic value and support performers, especially women, from rural and semi-urban backgrounds.

Lavani is a dynamic form of performance that combines poetry, dance, rhythm, and expression, traditionally performed to the beats of the dholki. At the Mahotsav, different styles of Lavani are showcased - from romantic Shrungarika to devotional Nirgun, and from public Fadachi to seated Baithakichi. Dancers perform in nauvari sarees with traditional jewellery and ghungrus, using strong footwork, hand gestures, and dramatic expressions to tell stories through music and movement.

The festival gives Lavani artists, many from places like Chaufula, Purandar, Baramati, and Akluj, a chance to perform before large, mixed-gender city audiences. Winners are awarded with the symbolic Ghungru, and judges evaluate the performances based on rhythm, lyrics, crowd connection, and stage presence.

By hosting the festival in formal venues like Bal Gandharva, Pune repositions Lavani as a serious and respected art form. Smaller Lavani programs also take place in Kothrud, Pimpri-Chinchwad, and Hadapsar, where local mandals and cultural groups organize performances during festivals like Navratri and Sankranti.

Audience participation has changed over the years. While Lavani audiences were once mostly male, recent editions of the Mahotsav have seen more women attending and performing. The Mahotsav acts as a platform for women’s empowerment. Many of the participating artists perform in front of city audiences for the first time and later receive invitations to perform at other festivals, schools, and cultural events. Performers like Gautami Patil, Mansi Mulsale, and Apsara Jalgaonkar have gained wider recognition through this platform.

Some editions of the festival include experimental performances such as combining Lavani with Marathi rap, jazz, or classical dance to attract younger audiences, though traditional Lavani remains the core focus. For Pune, Lavani Mahotsav is a celebration of folk tradition, local talent, and artistic dignity—giving a new stage to a performance style that is both historical and relevant, both rural and urban, and deeply rooted in Maharashtra’s cultural identity.

Mahashivratri, observed on the 14th night of the dark fortnight in the Phalguna month, is one of the most important festivals dedicated to Bhagwan Shiv. In Pune district, the day is marked by day-long fasting, night-long prayers, abhishek rituals, and community gatherings across various Shiv mandirs.

One of the prominent sites of worship on Mahashivratri is the Bhimashankar Mandir in Khed taluka. Located in the Sahyadri hills around 110 km from Pune, it is one of the twelve Jyotirlingas of India. According to local belief, it is the site where Bhagwan Shiv defeated the rakshas Tripurasura, and where the Bhima River originates. Devotees visit the Mandir for rituals such as abhishek, rudrabhishek, and maha-aarti. Many also trek through the forest paths leading up to the Mandir, making it both a spiritual and physical yatra.

In Pune city, devotees gather at older sites of worship such as the Pataleshwar Cave Mandir on Jangli Maharaj Road. Carved out of basalt rock in the 8th century, this cave Mandir has a Shivling and a Nandi seated in the main garbhagriha (sanctum). On Mahashivratri, people perform abhishek with milk and water, chant prayers, and participate in bhajans and annadan programs.

The Omkareshwar Mandir in Shaniwar Peth, located along the banks of the Mutha River, is another significant place of worship. Built in the 18th century during the Peshwa period, it sees a large footfall during Mahashivratri. Devotees bring offerings such as bel leaves, datura flowers, and ghee lamps, and attend night-long bhajan and kirtan programs organized by local mandals.

Other mandirs across the district, such as the Tarakeshwar Mandir in Yerawada and the Neelkantheshwar Mandir near Khadakwasla, also host special pujas and gatherings. Neelkantheshwar, situated on a forested hill near the Mutha backwaters, is popular for early morning treks. Groups from nearby areas like Warje and Sinhagad Road often make the journey on foot, combining devotion with community participation.

In recent years, several residential areas in Pune, especially in Baner, Kothrud, and Magarpatta, have seen the rise of spiritual gatherings held in community spaces. These events often include guided meditations, annadan, and live streams of central Mahashivratri celebrations. Housing societies also organize small-scale pujas and all-night bhajan programs.

Many families observe jagran at home by staying awake through the night, offering water or milk to a Shivling, and keeping a nirjala upvas (fast without food or water). In neighborhoods like Sahakar Nagar, Karve Nagar, and Bibwewadi, residents often come together for informal group prayers and storytelling sessions.

Educational and cultural groups also take part in the observance. Schools and colleges across the city organize talks on the life of Shiv, his symbolism, and related traditions. Cultural organizations host kirtans, musical performances, and lectures in areas like Erandwane, Sadashiv Peth, and Model Colony.

Across Pune, Mahashivratri continues to be a festival that brings together faith, community, and cultural expression. From ancient mandirs and riverfront mandirs to hilltop treks and housing society bhajans, the city observes the night of Shiv through many forms of worship and remembrance.

Makar Sankranti is celebrated across India as the festival that marks the sun’s entry into Makara Rashi (Capricorn), signifying the start of Uttarayana, the sun’s northward journey. In Pune district, the festival is celebrated with distinct customs and a strong sense of community. Unlike most places in Maharashtra that celebrate it on January 14 or 15, Pune follows the Tilak Panchang, introduced by Lokmanya Tilak, and observes Sankranti on January 10, giving the festival a local identity.

The most well-known tradition is the exchange of til-gul, sesame and jaggery sweets, accompanied by the phrase “Til gul ghya, god god bola” (Take til-gul, speak sweetly). Families, friends, neighbors, and colleagues exchange these sweets to mark peace, warmth, and good wishes. Tilgul Laddoos, Gulaachi Poli, and Kurmure Laddoos are commonly prepared at home and shared in tiffins and community meals.

Haldi-kunku gatherings are central to Sankranti celebrations, especially in neighborhoods like Sadashiv Peth, Navi Peth, and Erandwane. Women invite each other home for a short ritual, gift Sugads (decorated clay pots filled with seasonal items) and wear black sarees, a tradition believed to help retain warmth in winter. Black sarees with golden borders are in high demand during this season, especially at Laxmi Road and Appa Balwant Chowk.

Rooftop kite-flying is another highlight, with families and children gathering on terraces in areas like Sinhagad Road, Camp, Katraj, and Wakad. Shouts of “Kaate!” (cut the kite) echo across the city as people compete playfully in the skies. In the days before the festival, markets such as Tulshibaug and Chinchwad are full of kites, manja spools, and decorative items.

A special ‘Bornahan’ ceremony is held for infants, where they are showered with bor (jujube), sugarcane, and flower petals. This ritual, practiced in households across Kothrud, Pimpri-Chinchwad, and Aundh, is seen as a way of welcoming children into seasonal and community traditions.

Schools and offices in Pune also participate in the festival. Children wear black, exchange til-gul, and take part in poetry recitations and classroom discussions about the festival’s meaning. Several community groups organize public til-gul programs in Sahakar Nagar, Dhanori, and Hadapsar, often inviting new residents and senior citizens to promote social bonding.

Pune’s Sankranti has a unique historical connection. Lokmanya Tilak’s promotion of the Tilak Panchang and the January 10 date was both a cultural and political decision, aiming to create local identity and unity during the colonial period.

Environmental awareness has become an important part of the festival. NGOs and local authorities run campaigns against glass-coated manja, especially in bird-rich areas like Taljai Hill and Vetal Tekdi. Many housing societies have started organizing eco-friendly Sankranti events, including kite-making workshops, organic til-gul distribution, and no-plastic policies.

In housing societies, schools, and corporate offices, Sankranti brings people together through food, color, and tradition. Whether it's til-gul exchanges, kite-flying, haldi-kunku meets, or black saree shopping, the festival remains one of Pune’s most widely shared and warmly celebrated seasonal events.

Navratri, celebrated across India, marks nine nights dedicated to the worship of Devi Durga and her nine forms. It usually falls in late September or early October during the bright half of the Ashwin month. While the festival is observed with devotion and enthusiasm throughout the country, Pune district adds its own mix of traditional rituals and modern cultural events.

The festival begins with Ghatasthapana, the ritual installation of a kalash (pot) with mango leaves, rice, and durva grass. In areas like Sadashiv Peth, Erandwane, and Karvenagar, families set up altars and offer daily prayers, aarti, and bhajans. Many people across the city also follow the color-of-the-day dress code, with schools, offices, and housing societies joining in.

Mandirs across Pune hold special rituals during these nine days. At Shrimant Dagdusheth Halwai Ganpati Mandir, Navadurga stotras are chanted, and the Mandir is decorated with flowers and lights. At Chaturshringi Mandir in the university area, dedicated to Devi Ambareshwari, there is a large turnout of people for aarti and darshan. Cultural programs and bhajan sessions are also organized on Ashtami and Navami.

While the religious aspect remains central, Pune has also embraced the dance traditions of Garba and Dandiya Raas, especially in areas like Aundh, Viman Nagar, Hadapsar, and NIBM. Societies and cultural groups host Garba nights in open spaces and community halls, where residents dress in traditional outfits and join group dances. Some groups also offer Garba workshops to help newcomers learn the steps and understand the traditions.

Ticketed Garba events are organized at venues such as Mahalakshmi Lawns, Amanora Mall, and Royal Palms. These events feature DJs, live performers, and large crowds from different communities. The music usually includes a mix of Gujarati folk, Bollywood songs, and devotional Marathi tracks. Security arrangements and entry limits help keep the events safe and organized.

Markets like Tulshibaug, Laxmi Road, and Chinchwad are busy in the days before Navratri, with stalls selling dandiyas, festive clothes, accessories, and puja items. Tailors and boutiques take special orders for traditional wear, especially chaniya cholis and bandhani dupattas.

Fasting is common during the festival, especially among women. People avoid grains, onion, garlic, and common salt, and instead use sendha namak and cook with ingredients like sabudana, rajgira, and potatoes. Restaurants across Pune offer special Navratri thalis and snacks.

Cultural groups such as Kala Vaibhav and Lok Sanskriti Parishad organize programs focused on classical dance, storytelling, and devotional singing. Schools and colleges host Garba competitions, color days, and poster exhibitions, helping young people engage with the festival’s religious and cultural themes.

On Vijayadashami, the last day of Navratri, people offer final prayers and mark the victory of good over evil. In areas with Bengali and Odia communities like Koregaon Park, Wakad, and Hadapsar, Durga Puja celebrations end with Sindoor Khela and murti visarjan. Durga Puja pandals are set up with Anjali, bhog, and cultural events, organized by associations such as Pune Cultural Association and Utsav Pune.

Navratri in Pune reflects both the religious depth and the cultural diversity of the city. It combines traditional Maharashtrian worship, Gujarati Garba, Bengali Durga Puja, and modern urban participation into a single festival season. Whether through home rituals, society programs, or public events, Navratri offers Pune residents a time of devotion, celebration, and community connection.

Bhimthadi Jatra is an annual rural fair held in Pune City, typically in the second half of December, at the Agricultural College Grounds in Sinchan Nagar. Organized by the Agricultural Development Trust, Baramati, the event brings together rural artisans, farmers, women’s self-help groups (SHGs), and folk performers from across Maharashtra. It offers Pune city residents a rich and accessible experience of village life through food, crafts, and cultural performances.

The fair takes its name from the historic Bhimthadi region, once part of the dominions of the Yadavas, Bahamanis, Adil Shahis, Nizams, and Marathas. Known for its strong horses and resilient communities, the name "Bhimthadi" now serves as a symbol of rural strength, creativity, and continuity. Since its start in 2006, the Jatra has grown into a major cultural event, drawing lakhs of visitors each year.

At the fair, over 300 stalls are arranged into thematic sections showcasing products made by rural SHGs and small entrepreneurs. These include handloom sarees, bamboo crafts, traditional snacks, wild honey, millets, earthenware, and eco-friendly goods. Food stalls serve a wide range of Maharashtrian dishes: from Kolhapuri mutton and Malvani seafood to Hurda Bhakri, Khapri Kheer, Puran Poli, and Taak (buttermilk).

Cultural programs are held every evening on an open-air stage, featuring Lavani, Gondhal, Bharud, and other folk forms. Performers come from different regions of the state, offering audiences a window into Maharashtra’s oral and musical traditions. Bhimthadi Jatra stands out for its focus on authentic rural entrepreneurship.

Also known as the Pandharpur Wari or simply the Palkhi, the Sant Dnyaneshwar and Sant Tukaram Jatra is one of Maharashtra’s most significant and deeply rooted spiritual traditions. Originating from the towns of Alandi and Dehu in Pune district, this 21-day walking pilgrimage culminates in Pandharpur, where lakhs of Warkaris gather to offer darshan to Vithoba-Rakhumai on Ashadhi Ekadashi (June–July). The event centers around carrying of the silver padukas (sandals) of Sant Dnyaneshwar and Sant Tukaram in ornate palkhis (palanquins), accompanied by lakhs of Warkaris, devotees clad in white, singing abhangs, playing traditional instruments, and observing a strict devotional code.

The Wari is part of a centuries-old bhakti tradition that emphasizes equality, humility, collective discipline, and spiritual access for all, regardless of caste or class. Sant Dnyaneshwar, who composed the Dnyaneshwari in the 13th century, and Sant Tukaram, a 17th-century poet-saint known for his thousands of abhangs, are both revered as pillars of this movement. The present-day format of the Wari was institutionalized in 1685 by Narayan Baba, Tukaram’s youngest son, and the two palkhis were officially separated in 1830 - Tukaram’s departing from Dehu, and Dnyaneshwar’s from Alandi. The two processions converge in Pune before continuing south toward Pandharpur, accompanied by over 40 other dindis (walking groups) from different regions.

In Pune district, the towns of Alandi and Dehu host two major yatras in honor of the saints. In Alandi, devotees gather at the samadhi of Sant Dnyaneshwar, where his brass-masked Mandir becomes the focal point for kirtans, pravachans, and a Thursday palkhi procession. Two major yatras take place here annually, one around Ashadh and another during Kartik, as well as a month-long jatra during Adhik Mas when it occurs. Similarly, in Dehu, the jatra of Sant Tukaram is held from Phalguna Vad 1 to 8 (February–March), with the most significant event being the palkhi procession around the Nandurkhi tree on Phalguna Vad 2, believed to mark his ascent to Vaikuntha. Both sites also host weekly and annual devotional events, drawing pilgrims throughout the year.

In Pune city, the arrival of the palkhis is a large civic and spiritual event. Roads are temporarily closed, infrastructure reoriented, and cultural performances organized as the palkhis pass through areas like Hadapsar. Municipal bodies manage large-scale logistical operations including sanitation, night shelters, medical camps, and water distribution. As the Wari approaches Pandharpur, devotees take a ritual dip in the Chandrabhaga River before offering darshan to Vitthal, marking the spiritual climax of the journey.

Today, Pandharpur Wari is both a spiritual pilgrimage and a symbol of cultural resilience. Participants include farmers, students, professionals, and entire families, all walking together in a gesture of shared devotion. While rooted in tradition, the Wari continues to evolve, remaining a living expression of Maharashtra’s devotional heritage.

Savitri Jatra is a district-level festival held annually in Pune, focused on promoting rural women’s self-help groups (SHGs) and local livelihoods. Organized by the Pune Zilla Parishad under the Maharashtra State Rural Livelihood Improvement Mission (UMED), it blends the atmosphere of a fair with the goals of economic development and community celebration. Though the festival borrows its name from the legendary figure Savitri, it is not religious in nature. Instead, it uses Savitri’s story as a symbol of strength and resilience, aligning with the work of rural women across the district.

The Jatra is typically held in early March at the Agricultural College Grounds in Shivaji Nagar. The fairground is filled with colorful stalls selling textiles, handicrafts, spices, pickles, snacks, and household items, all produced by women’s SHGs from across Pune and nearby districts. Food stalls offer traditional items like Pithla-Bhakri, Thalipeeth, Puran Poli, and Chakli, giving visitors a taste of regional cooking. Products are grouped into categories to make browsing easier for shoppers.

Cultural programs are held throughout the week, featuring folk music, dance performances, and youth competitions. These events are open to performers from rural colleges, local schools, and community groups. Prizes and certificates are awarded to encourage participation and talent from underrepresented areas. Games and activity zones ensure that families and children also have an enjoyable experience.

Savitri Jatra reflects a unique blend of development and culture in Pune district. It honors women’s work, supports rural income, and brings together people from across backgrounds in a setting that is festive, inclusive, and grounded in local identity.

The Sawai Gandharva Bhimsen Mahotsav, popularly known as Sawai, is one of India's most iconic Indian classical music festivals, held annually in Pune since 1953. Founded by Pandit Bhimsen Joshi in memory of his guru Sawai Gandharva, the festival is organised by the Arya Sangeet Prasarak Mandal and has grown into a revered cultural tradition in the city. It continues to be a landmark event for connoisseurs of Indian classical music, drawing audiences from across the country and abroad.

Initially a small commemorative gathering, the festival has evolved into a prestigious five-day musical soiree that showcases the foremost artists of Hindustani classical music, along with Carnatic musicians, dhrupadiyas, instrumentalists, bhakti and ghazal singers, qawwals, and classical dancers. Every year, up-and-coming musicians make their mark at the festival, with a debut performance at Sawai often seen as a rite of passage into the national classical scene. Rahul Deshpande, Kaushiki Chakrabarty, and Mahesh Kale are among its celebrated alumni.

Traditionally held in December, the Mahotsav begins with a morning shehnai performance and continues over three to five days. The final day features two sessions - morning and evening - and ends with the festival's customary conclusion: a recording of "Jamuna Ke Teer" in Raag Bhairavi, sung by Sawai Gandharva himself, playing as a tribute to the guru and the festival’s founding spirit.

Pandit Bhimsen Joshi curated and personally invited performers until 2002. After his retirement due to health reasons, his son Shrinivas Joshi and disciple Shrikant Deshpande took over the organisation. In 2011, following Joshi’s passing, the festival was renamed the Sawai Gandharva Bhimsen Mahotsav in his honour. Since then, Prabha Atre, an eminent vocalist, has regularly delivered the concluding performance.

Over the decades, Sawai has remained both custodian and catalyst preserving the legacy of various gharanas while offering space for innovation and new talent. It has resisted the pressures of commercialisation, choosing instead to foreground artistic merit, continuity, and cultural reverence.

Shiv Jayanti, celebrated annually on February 19, marks the birth anniversary of Chhatrapati Shivaji Maharaj, the visionary founder of the Maratha Empire and the proponent of Hindavi Swarajya. In Pune district, long seen as the cultural capital of the Maratha heartland, Shiv Jayanti is not simply a public holiday but a vibrant expression of historical pride, community participation, and regional identity.

Pune holds a special place in Shivaji Maharaj’s life and legacy. It was here, at Lal Mahal, that he spent much of his childhood, and it was from nearby forts like Shivneri, Torna, and Rajgad that his early campaigns were launched. The city is dotted with spaces bearing the imprint of his memory, from monuments to mandals to public art. As a result, Shiv Jayanti in Pune is rooted not only in commemoration but also in lived geography.

The public celebration of Shiv Jayanti in Pune began in 1870, when Mahatma Jyotirao Phule organized the first community gathering at Hirabag after discovering and restoring Shivaji Maharaj’s long-forgotten samadhi at Raigad. For Phule, Shivaji was not merely a king, but a symbol of resistance against caste-based oppression and feudal hierarchies. His commemoration of Shivaji was an act of radical reclamation, one that transformed the warrior-king into a figure of democratic inspiration.

This tradition was later taken forward by Bal Gangadhar Tilak, who wove Shiv Jayanti into the larger nationalist movement. For Tilak, the image of Shivaji became a rallying force - uniting people against colonial rule through a shared cultural icon. Through public speeches, processions, and publications, Tilak elevated Shiv Jayanti from a reformist remembrance to a mass political event.

Today, the celebration in Pune is citywide and deeply integrated into civic life. Large processions, some featuring more than 70 raths (chariots), make their way through the old city, beginning at historical landmarks such as Shaniwar Wada and Lal Mahal. These raths are elaborately decorated and often depict key moments from Shivaji’s life: his oath at Raireshwar, his coronation at Raigad, his naval ambitions, and his guerilla warfare tactics. Dhol-tasha pathaks lead the way, their rhythmic beats energizing the streets for hours. Young participants, dressed as Shivaji Maharaj or his trusted warriors, perform swordplay, lezim, and dandpatta, bringing martial traditions to life.

Across Pune’s schools, colleges, housing societies, and youth mandals, week-long programs are organized in the lead-up to the festival. These include debates, storytelling competitions, mural-making, essay writing, and dramatized retellings of Shivaji’s campaigns. Cultural stages across the city host bhajans, powadas (ballads), and plays that foreground Shivaji’s qualities as a just ruler, a strategic military thinker, and a promoter of inclusive governance.

Tributes are paid at locations central to Shivaji’s childhood and symbolic legacy. At Shivneri Fort, where he was born, official programs begin at dawn with a maha aarti, followed by cultural exhibitions and traditional wrestling events such as the Shivner Kesari. At Lal Mahal, the site where Shivaji once famously stood up to injustice as a boy, community groups gather to offer floral tributes and perform short theatrical pieces in his honor.

Local politicians and cultural figures often use the occasion to speak on Shivaji’s ideals of swarajya, justice, and people-centric governance, drawing parallels with contemporary challenges. It is also a moment where heritage conservation announcements are made, such as plans for ropeways to forts, new museums, or restoration work.

While Shiv Jayanti is marked across Maharashtra, Pune’s celebration remains singular in its rootedness. Here, the festival is not only a look back into history, but a living civic ritual that bridges past values with present aspirations.