For more than a year, around 50 migrant labourers from Dhantala-Kamalpur in Nadia had been planning to return home with the hope of building a livelihood on their own soil.

That decision gained urgency this year after reports of attacks on Bengali-speaking migrant workers in several BJP-ruled states, where they had long worked as artisans and craftsmen creating giant fibreglass models.

Faced with linguistic hostility and insecurity, they chose to come back and transform their settlement into an “art village,” working collectively to improve their economic condition while imparting artistic skills to younger generations.

In their first grand display of talent, these artisans have built a 125-foot-high idol of Goddess Durga for the puja pandal of local club Avijan Sangha in Kamalpur, a village about 13km from the Ranaghat railway station.

The project has turned into an emotional rallying point
for the entire community, which has invested nearly ₹1.25 crore to make the endeavour a reality.

The towering idol, however, did not come without struggle.

Last year, their attempt was stalled when the district administration objected to its height, citing security concerns after an 80-foot-high model in Calcutta’s Deshapriya Park created a scare a few years ago and had to be closed for public viewing in the middle of the Puja.

This year, after modifications and compliance with safety norms, the villagers succeeded in raising the colossal structure, which now draws huge crowds to the otherwise quiet paddy fields.

“It is to make a dream come true. Our goal is to bring a change in the economy of our village, which has no employment opportunities and depends mostly on agriculture, which no longer ensures a decent living. Those who cannot match their needs with their income are compelled to migrate to other states. We have tried to make a collective effort to change our lives using our own resources — our skill, talents and craftsmanship,” said Sujoy Biswas, 40, a primary school teacher from Kamalpur who has been the driving force behind the “art village” and the gigantic Durga model.

Biswas added: “We have several talented artisans in our village who used to work outside on an individual basis or for contractors. But their income was meagre and brought no real change to our home or to the next generation. Since the culture of education is not so strong here near the Bangladesh border, I wanted to emphasise skill and craftsmanship, and inspire people to work together on big projects so that they could earn more while creating a path for future generations.”

It was Sujoy who persuaded not just 50-odd migrant workers to return, but also other villagers to support the “art village” dream.

Once agreed, they planned to showcase their abilities with a gigantic idol and come up to find it selflessly for a bright future of the village.

When the initial structure went viral last year, the administration raised objections, forcing the project to be shelved at a huge financial loss. But this year, with stronger planning and modifications, the dream was revived. A reinforced concrete base and a fabricated steel structure now support the 125-foot-high fibreglass deity, erected on a five-bigha farmland donated by a villager.

“We have sculptors, fibreglass model experts, clay artisans, architects, and engineers in our village. We engaged them all for over a year, and the structure has been built in such a way that it can withstand strong winds without any threat. We have also created sufficient air pockets to allow free flow of air,” said Avijan Sangha secretary Joydeb Mondal.

What began as a religious display has quickly opened new opportunities. The “Baro Durga Art Village” has already begun receiving orders for towering idols and models from across Bengal.

“We have already received orders for an 80-foot model of Goddess Jagadhatri from Chandannagore, a 42-foot Goddess Kali from Silinda in Chakdaha, a 75-foot Goddess Saraswati from Kalyani, a 75-foot Lord Shiva, and many more. This is just the beginning, and we are hopeful that brighter days are not far away if we continue working collectively,” said Biswas.

“We still have a long way to go, and much remains to be worked out about the functioning of the Art Village.”

For the residents of Kamalpur, located far from the bustle of Ranaghat town, the towering Durga is more than a symbol of devotion. It represents defiance against the odds, a fight for economic dignity, and an alternative to migration in hostile states.

At a time when many Bengali-speaking workers face targeted attacks outside Bengal, the “art village” stands as both a sanctuary and a new model of livelihood, where artistry and resilience together offer a future beyond the failing fields.